


The Entire Godzilla 1994 Script

by MonsterOfRock



Category: Godzilla - Fandom
Genre: Aliens, Amniotic Fluid, Atomic, Battle, Genetic, Genetic Editing, Genetic Engineering, Genetics, Godzilla - Freeform, Nuclear, Probes, Radioactive, Screenplay/Script Format, alien - Freeform, gryphon - Freeform, probe - Freeform, screenplay, script
Language: English
Status: Completed
Published: 2018-03-25
Updated: 2018-03-25
Packaged: 2019-04-07 22:38:15
Rating: General Audiences
Warnings: Creator Chose Not To Use Archive Warnings
Chapters: 1
Words: 27,187
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/14091225
Author URL: https://archiveofourown.org/users/MonsterOfRock/pseuds/MonsterOfRock
Summary: You wanted it, you got. The Godzilla 1994 film.





	The Entire Godzilla 1994 Script

\----------  
FILE NOTES  
\----------

 

\- Source: WORDPLAYER ; Section: ARCHIVES  
E-mail: Terry Rossio c/o 

\- Document History: 05-99 (online)

\- Please obtain permission before redistributing this script over  
the Internet or in any other medium. In all cases, this FILE NOTES  
header should remain attached and intact.

\- Please view in a monospaced font -- preferably Courier, 12-point.  
Plain text formatting does NOT precisely match original script.

 

<\-------------------- SCREENPLAY STARTS HERE ---------------------->

 

 

 

GODZILLA

 

 

written by

Ted Elliott & Terry Rossio

 

 

 

 

 

 

 

FINAL DRAFT  
December 9, 1994

 

 

FADE IN:

EXT. ARCTIC OCEAN - DAY

Stars in the black of space. PAN DOWN to sapphire blue sky, the  
brighter stars still shining through. It's Arctic midnight, the  
weak sun tiny on the distant horizon. We SKIM along the water,  
in and around looming glacial cliffs--

The top of an iceberg pushes through the water's surface.  
Carved into the ice is a single mammoth word:

G O D Z I L L A

We continue past, along the ocean, and discover:  
An old fishing boat, the RAINBOW WARRIOR, holds position  
outside a small natural harbor. All lights extinguished.

FADE UP TITLE:  
ARCTIC OCEAN, NEAR THE 170th PARALLEL

ON DECK: Eco-warriors peer through high-powered binoculars and  
video cameras. Among them: An intense WOMAN. A RUSSIAN MAN  
with a scraggly beard. A surly BLOND MAN, who monitors a Geiger  
counter. All wear heavy parkas against the gray cold.

BLOND MAN  
Can anyone make out the registry?

WHAT THEY ARE WATCHING: A distant SALVAGE SHIP, moored inside  
the harbor. Its hoist is swung out over the sea. Flood lights  
illumine salvage divers as they submerge with hoist cables.

RUSSIAN MAN  
Not me. Bojemoi...I think my  
eyeballs are frozen.

WOMAN  
It's blacked out. Whatever  
they're up to, it's no goddamn  
good.

Near the salvage ship, the divers guide the cable as the hoist  
engines begin working, winching the cable up.

BLOND MAN  
(looks up from Geiger  
counter)  
Background radiation is nearly a  
hundred times normal. They're  
harvesting reactor cores. They  
must be.

RUSSIAN MAN  
We don't know that. There's no  
evidence of--

 

 

2.

 

BLOND MAN  
(pointedly accusing)  
There's a thirty-year-plus history  
of Soviets dumping nuclear waste  
and old reactors into the Kara,  
the Barents, the Sea of Japan--

RUSSIAN MAN  
(amused)  
I swear, I was not there. I had  
a cold.

BLOND MAN  
So why not the Arctic? Who knows  
how many of these graveyards there  
are?

WOMAN  
Something's wrong!

The two men re-focus on the salvage ship--

\--where crewmen race across the deck. Divers scramble onto the  
platform. A klaxon sounds--

Suddenly the GEIGER COUNTER SQUEALS, readings off the scale.  
The Blond Man drops it, startled.

WOMAN  
Shit!

The sea begins to BOIL beneath the salvage ship.

WOMAN  
Chain reaction! Grab tight--

The sea ERUPTS. The salvage ship is HEAVED into the air. It  
disappears in a FIERY EXPLOSION--

The shock wave rocks the Rainbow Warrior violently. People  
scramble as the deck tips. Huge chunks of ice peel off the  
cliffs, crash into the sea, onto the ship. With a cry, the  
Blond Man falls overboard. Smoke pours from below decks.

The Geiger counter calls out an uninterrupted staccato.

The Russian Man stumbles blindly through the chaos, grasping for  
deck rails. 

TALL MAN  
...I can't see...Claus? Martha?  
Help me!

OBSERVER  
Look at that! The snow can't  
burn! It can't burn!

 

 

3.

 

Near where the remains of the salvage ship, the snow is indeed  
on fire--an eerie sight. A fissure has opened up in the  
glacier, still expanding.

WOMAN (O.S.)  
Oh my god!

RUSSIAN MAN  
(stumbles toward her)  
Martha? Where are you? What is  
happening?

The Woman stares toward the shore.

WOMAN  
It's bleeding...

RED-BLACK FLUID flows out of the fissure, into the sea. The  
fluid steams in the chill Arctic air. Turning the ocean blood  
red.

MARTHA  
The Earth is bleeding...

 

INT. LLEWELLYN HOME - BEDROOM - NIGHT

The window is wide open. The curtains don't move. A fan labors  
pointlessly, aimed toward the bed--which is empty. Suddenly,  
the mattress JUMPS, bumped from beneath. There is a giggle. 

KEITH (O.S.)  
I thought we got on the floor to  
cool off.

JILL (O.S.)  
Oh, gee. I'm sorry. I'll stop.

KEITH (O.S.)  
Just an observation. No  
complaint. Please, continue.

The phone RINGS shrilly.

KEITH (O.S.)  
Dammit.

KEITH LLEWELLYN pulls himself out from under the bed to answer  
the phone. He is mid-thirties with a charming smile.

KEITH  
Dr. Llewellyn.  
(listens; dismayed)  
How soon? Okay, okay...I'll be  
ready.  
(beat)  
What? Oh, of course.

 

 

4.

 

JILL LLEWELLYN has emerged from beneath the bed. A woman of  
high intelligence and strong passions. Keith extends the phone.

KEITH  
For you.

JILL  
(takes the phone)  
Dr. Llewellyn. How soon? Yes, I  
can be ready.

She hangs up the phone. Looks at Keith, dismayed.

JILL  
The Arctic. Both of us.

KEITH  
I hate cold weather.

Jill pulls him to her. Smiles at him.

JILL  
Could be our last chance to be  
warm for a while...

He smiles back at her, leans in to kiss her--  
BRIGHT LIGHT FLOODS THE ROOM. The curtains are blown back. A  
helicopter settles down outside the window.

JILL  
Now the government gets efficient?

 

EXT. LLEWELLYN HOME - NIGHT

At an upstairs window, TINA LLEWELLYN looks out. 15 years old,  
bright and aching to test boundaries. She peers at the  
helicopter.

A CUTE PILOT guides the 'copter to the ground.  
Across the street, a NEIGHBOR and his SON emerge from their  
house to investigate the noise. Prop wash blows loose a pink  
plastic lawn flamingo. The Neighbor grabs for it.

The rotors wind down. The Cute Pilot goes over a checklist. He  
looks up--and his eyes go wide.

CUTE PILOT  
Oh, man.

Tina is coming toward the 'copter, wearing T-shirt, tights and  
an underage smile.

CUTE PILOT  
(extends his wrists to  
co-pilot)  
Just slap the cuffs on me now and  
be done with it.

 

 

5.

 

Tina reaches the cockpit. The Cute Pilot looks down at his  
clipboard, very aware that looking anywhere else could result in  
a morals charge.

TINA  
Hi.

CUTE PILOT  
Good evening, miss. Kinda late  
for you to be up, isn't it?

TINA  
I'm old enough.

Across the street, the neighbor clutches his flamingo.

NEIGHBOR  
I don't care how high-up they  
are...Ever since they moved in,  
it's one disruption after another.

SON  
(staring at Tina)  
I don't mind.

Jill and Keith exit the house, carrying parkas and small  
duffels. Jill sees Tina--and hurries to her. The Cute Pilot  
still studies his clipboard.

JILL  
Tina...this is hardly an  
appropriate fashion statement.

Keith drapes his parka around Tina's shoulders.

TINA  
That depends on what I'm trying to  
say.

The Cute Pilot chuckles--and then meets Keith's glare.  
Refocuses on his clipboard. Jill herds Tina toward the house,  
into the shelter of the porch and the doorway. Keith follows.

TINA  
God, unruffle, mom. It's no big  
deal--

JILL  
I don't want any problems while  
we're gone. It'll only be a few  
days, tops. 

TINA  
I could go stay with Aunt Julia. 

KEITH  
Aunt Julia's rarely home long. We  
don't want you to be by yourself--

 

 

6.

 

Tina lets out a loud snort of a laugh.

KEITH  
\--in New York. In Manhattan.  
Here, you're safe.  
(spreads his arms; a  
knowing understatement)  
Nothing unusual ever happens here.

She smiles at the sight of him, the helicopter behind him on the  
lawn gearing up to take off.

KEITH  
Really--you'll be okay?

TINA  
I'll be fine, dad. Go on.

KEITH  
Okay. Well...bye.

He kisses her forehead. Takes his parka, heads out toward the  
helicopter. Pauses to call to the Neighbor.

KEITH  
Will you keep an eye on things for  
us, Mr. Torkleson?

The Neighbor's son answers immediately, almost gratefully.

SON  
Yes!

NEIGHBOR  
(scowls at his son)  
Yes...no problem.

Jill regards Tina, who looks away sullenly. Jill smiles  
ruefully.

JILL  
Use some of the money in the bread  
box to buy a bathrobe, huh?

TINA  
Whatever, mom.

Jill looks at her. A perfunctory kiss--neither is comfortable  
with it--and then Jill heads for the helicopter.

The helicopter lifts. Jill sees Tina standing in the shadows of  
the porch. She looks very small and alone.

 

 

7.

 

EXT. ARCTIC OUTPOST - DAY

An C-130 transport with ski treads lands on a makeshift  
airstrip. Temporary shelters have been set up. The Rainbow  
Warrior is now mostly submerged.

Jill and Keith emerge from the plane, make final adjustments to  
their biohazard suits, heavy-duty coveralls with full hood and  
visor, hood slung back. Keith has a thin file folder. 

A young captain, TUCKER, peachfuzz mustache failing to make him  
look older, meets them. He also wears a biohazard suit. 

TUCKER  
(greets each)  
Dr. Llewellyn! Dr. Llewellyn!  
I'm Tucker! 

Tucker takes Keith's arm, snaps something onto the sleeve.

TUCKER  
Radiation badge. If it goes red,  
consider yourself cured of cancer.

KEITH  
And dead, of course.

JILL  
(as Tucker snaps a badge  
on her)  
But a healthy kind of dead.

KEITH  
(points with the file)  
What the hell have you found here,  
anyway?

Tucker leads them toward the fissure. Ahead, bio-suited workers  
wheel large storage drums out of the fissure. One worker re-  
seats a lid; Jill stops him, peers inside.

JILL  
This is peculiar soup...

TUCKER  
Early analysis is pretty weird...  
It has a marked resemblance to  
amniotic fluid. We think.

JILL  
Amniotic fluid?

KEITH  
Like in a womb? 

 

 

8.

 

TUCKER  
Uh-huh...well, not really...  
there're some complex compounds...  
and a heavy barbiturate presence.  
We think.

Jill scowls, her mind suddenly very far away as she contemplates  
this information.

TUCKER  
I know one of you Doctors  
Llewellyn is a bio-chemist...

Despite being addressed, Jill does not answer. Keith steps in.

KEITH  
That would be the pretty one.

TUCKER  
We have a lab set up if you'd like  
to...

But Jill is already moving off with the worker wheeling the  
barrel.

KEITH  
I think she'd like to. Hey, Jill!

She turns. He hands her the file. Leans to kiss her cheek, but  
she's already reading the folder as she walks away.

Keith glances at Tucker, shrugs. Tucker smiles. Pulls on his  
hood, seals it. Keith does, too. Tucker gestures to follow,  
slips into the fissure--

 

INT. WOMB CAVERN - DAY

Keith and Tucker clamber down ladders anchored to the glacier,  
deep into the fissure, into:

A huge cavern, carved out of ice and earth, lit by a string of  
bare lights that stretch away in both directions.

The wall opposite the fissure is imposing and strange, made up  
of crevices and finely textured stone, markedly different from  
the ice wall and ceiling.

A bio-suited workcrew pumps the red-black fluid into storage  
drums. Tucker leads Keith, slogging through shin-deep fluid.

TUCKER  
The entire cavern was filled with  
this stuff--

Suddenly there is a LOW RUMBLE--a small TREMOR. Ice sifts down  
from above. Lights flicker. Keith glances at Tucker.

 

 

9.

 

TUCKER  
An avalanche somewhere. Or the  
sea floor shifting. The blast  
that opened this up was some  
pretty mean shake-and-bake.

Something beyond Tucker has drawn Keith's attention: apparently,  
it is a smaller cavern. Inside are weirdly regular rows of  
stalagmite and stalactites. Keith moves inside, examining them.  
Tucker stands outside.

KEITH  
This is the strangest stalactite  
formation I've ever seen...

TUCKER  
Those aren't stalactites.

Keith gives him a puzzled look, starts to really examine the  
'cavern'--

TUCKER  
(enjoys the revelation)  
They're teeth.

Keith's eyes widen--he suddenly sees what's been in front of him  
all along: he's inside a giant mouth. He scrambles out to  
beside Tucker.

KEITH  
My God...my God.

He takes in the mouth. Touches the strangely-textured 'wall.'

KEITH  
And this isn't stone...is it?  
It's petrified or something--but  
this is skin.  
(he turns to Tucker)  
It's skin.

TUCKER  
It's skin. We think. But it  
might as well be stone, for all  
the good we've done trying to get  
a tissue sample...we broke three  
diamond drill bits on it--

Keith clambers up, over the open mouth, caught up in the moment.

KEITH  
This is incredible...the  
preservation is extraordinary...  
Mammoths and the like found frozen  
show much more decay. Even the  
Alps ice man--

 

 

10.

 

He stops. Stares down the length of the body.  
The string of lights is more than a football field in length.

KEITH  
How big is this...this..?

Tucker climbs up beside him.

TUCKER  
Two hundred forty-seven feet...  
There's also a tail, but how long  
that is we can't tell yet...

KEITH  
Two hundred and forty-seven feet?  
(he looks again)  
Two hundred and forty-seven  
feet...so much for seismosaurus  
and ultrasaurus...It is a  
dinosaur, isn't it?

Tucker shrugs--then nods, grinning.

TUCKER  
We think.

Another TREMOR, bigger this time. More ice rains down. The  
lights flicker. Go out, plunging the cavern into DARKNESS.

TUCKER  
Shit...wait a sec...

He snaps on a flashlight, illumining the two men, still standing  
on the beast's muzzle.

TUCKER  
(bellows an order)  
Nobody move 'til we get the lights  
back on.  
(to Keith)  
We don't need anyone tripping over  
some giant dinosaur nuts in the  
dark or something...  
(another order)  
And let's get the lights back on,  
shall we? Thank you!

Behind the two men, unnoticed by them, there is MOVEMENT--

The monster's EYELID OPENS, ten feet across.

A second, semi-transparent protective eyelid slides away--  
Revealing iris and slit pupil, glinting wetly--  
The pupil dilates, focuses--

The lights come back on. The pupil contracts. The eye BLINKS.

 

 

11.

 

TUCKER  
(re: the lights)  
About time...

Keith turns back to the beast. Its eye tracks his movement--

Keith's own eyes go wide.

KEITH  
Good lord--

And then the earth shakes again as the beast's head moves--  
Claws tear out of the earth--  
One whole section of wall undulates--and we become aware that  
the monster's tail is wrapped around the entire cavern--

Sections of the ladder tear loose. Climbers plunge to earth--  
The mouth closes, then opens again. FIRE fills the cavern--

And there is a DISTINCTIVE ROAR, sharp and terrifying, unlike  
anything anyone has ever heard--

 

INT. ARCTIC OUTPOST - DAY

Jill peers into a microscope--and suddenly the building shakes.  
She braces for it to pass. It doesn't. It gets worse.

The door slams open. A Radio Man scrambles to a radio near  
Jill. Fluorescent lights flicker, strobing the room.

JILL  
What's going on--

The whole room tips, upending cabinets and shelves. Jill is  
pinned beneath a table.

RADIO MAN  
Mayday! Mayday! This is Arctic  
Outpost--

A beam collapses, slamming into him, silencing him. The room is  
still shaking. Jill tries to push the cabinet off of her, but  
it is too heavy. She looks toward the window, and GASPS--

Despite her obscured view of the window in the half-collapsed  
wall, she sees:

The two rows of huge, gleaming jagged teeth, moving past and  
past and past for much longer than one would expect.

JILL  
My god...

And then the building is jarred again, and the ceiling  
COLLAPSES, and the flickering lights flicker off.

 

 

12.

 

EXT. TAKI ISLANDS - NIGHT

FADE UP TITLE:  
TAKI ISLANDS, NORTHEAST OF JAPAN

Heavy winds and rain: a HURRICANE. A small fishing village  
battens down for the storm. Waves lash across the docks.

One villager, JUNJI, looks out from his house. Moored boats  
bang against the docks. Villagers hurry to cover, past the fish  
stacked on the wharf.

One boat's lines have come loose; it is in danger of getting  
swamped. JUNJI gasps: it is his boat.

JUNJI'S WIFE appears in the doorway behind him, drawn by his  
gasp. She sees the boat. Junji starts to leave the house--

His wife stops him with a hand on his shoulder.

JUNJI'S WIFE  
(in Japanese)  
Don't go out there--you'll drown!

JUNJI  
(in Japanese)  
Without my boat, I have no life!

He stares at her, adamant. She nods, resigned--but gestures for  
him to wait. Disappears into the house. Reappears with a  
bright yellow slicker. She helps Junji into it. He gives her  
a kiss, then ducks into the storm. She watches him go.

LIGHTNING scrabbles across the dark heavy clouds. Junji hurries  
to his boat. Struggles to make the line fast.

From out in the ocean, the village looks very small, very  
fragile. And then something rises out of the waves, blocking  
the village. Huge with jagged dorsal fins: Godzilla.

On the docks, a SOUND rises above the storm: the DISTINCTIVE  
ROAR. Junji looks up--

There is a FLASH OF LIGHTNING. Between Junji and the lightning,  
the huge shape continues to rise--

Junji stares up in horror and shock. One huge, taloned foot  
crashes down, nearly on the small dock. And then the monster  
takes another step--

A dark shadow falls across Junji--  
His wife watches, frozen with terror--  
Junji falls back against the piling. The huge foot looms  
directly over him. He can see up, up, up the height of the  
body, the two arms, the serpentine neck.

 

 

13.

 

JUNJI  
(in Japanese)  
It cannot be...  
(a certainty)  
Gojira...

The foot descends--past him, miraculously sparing him.

Other villagers see what's coming. Some run, some freeze, some  
pray. Some race for the refuge of trees behind the village.  
The beast looms. One four-clawed hand reaches down--  
\--toward the villagers? Toward Junji?  
\--Godzilla scoops up the entirety of the day's catch and  
tosses it into his gaping mouth, past enormous sharp teeth.

His head turns toward the village. He moves, the earth shaking  
beneath his tread. Junji's wife stares up as he nears--

Junji screams from the docks--

JUNJI  
(in Japanese)  
Run! Run!

\--but she can't hear. Godzilla's foot comes down--  
\--crushing the house.

Junji's eyes go hollow. He stares now, a mad witness.

Godzilla's tail drags across the village, causing more  
destruction. More villagers are buried beneath the wreckage.  
But Godzilla pays them no heed. 

He reaches for the windswept forest behind the village, scoops a  
huge furrow in the ground, uprooting an entire copse of trees.  
He raises it to his mouth--and two villagers who were hiding  
shake loose, plummet to the ground. Godzilla gulps down the  
trees.

He moves back toward the ocean--then pauses. Cranes his head  
back, looking up into the sky, searching for something--

The clouds blow apart briefly, revealing the night sky, empty  
save for twinkling stars. The clouds close. Lightning crackles--

GODZILLA ROARS and BREATHES FIRE. A warning. A challenge.

And then he goes to all fours and dives into the sea, his huge  
bulk moving past Junji impossibly fast. Godzilla's 150-foot  
tail sweeps around, creating a huge wave--

The wave CRASHES across the island, hurling ships over docks and  
smashing through houses--

Junji clings to a piling for his life. The water sweeps by--  
somehow, Junji holds on. He stares out at the sea--

 

 

14.

 

Where the monster sinks down, disappearing into the violent,  
storm-tossed ocean.

DISSOLVE TO: 

 

EXT. PACIFIC OCEAN - BLUFFS - EVENING

The ocean. Calm now. On a bluff above the ocean a road passes  
beneath a high, ugly wall, topped with barbed wire.

FADE UP TITLE:  
MORI OGAI CARE INSTITUTE  
ONE YEAR LATER

A car veers off the road. Two men get out:

AARON VAUGHT. Tall, graceful, eyes watchful behind wire-rimmed  
glasses. He looks like a ski instructor who chucked it all to  
become a librarian.

MARTY KENOSHITA, enthusiastic, bordering on intense. He lugs a  
large trial case.

Aaron steps up on the hood of the car, then to the roof, giving  
him a view across the top of the wall--

Beyond the barbed wire is not the expected prison. Instead,  
there are manicured tea gardens, small cottages. A koi pond  
beneath lovely waterfalls. All that betrays the illusion of a  
luxury hotel is the wall, surrounding the grounds on three  
sides. The bluff is the fourth barrier.

Marty scrambles up next to Aaron.

MARTY  
There he is.  
(points)  
Staring at the ocean.

Across the grounds, a figure sits.

AARON  
Maybe he is crazy, like they say.

MARTY  
Yeah, and maybe not. If you  
wanted to hide someone, keep them  
quiet, this would be a good place--

AARON  
Marty, no paranoia tonight.  
(gestures)  
Loan me your coat.

Marty frowns, but slips off his overcoat.

 

 

15.

 

Aaron tosses it onto the wall, covering the barbed wire.

MARTY  
HEY!

Aaron tosses his pack into the grounds. Leaps to the wall,  
swings over. A beat; Marty heaves his case over, follows.

 

EXT. MORI OGAI CARE INSTITUTE - GROUNDS - EVENING

Marty and Aaron near the seated figure--

It is Junji--looking much older than can be accounted for by the  
time passed. He seems unaware of their presence, eyes staring  
out to sea.

AARON  
Mr. Tange? Junji Tange?

No response. Aaron nods to Marty. Marty translates what Aaron  
says into Japanese, nearly simultaneously.

AARON  
You're a hard man to find, Junji.  
We've been talking to survivors of  
the Taki Island Deluge for almost  
a year.

Still no response. Marty adds something more in Japanese. With  
his eyes, Aaron inquires 'what?'

MARTY  
I said they all tell the same  
story: the worst hurricane in  
fifty years virtually washed away  
one of the chain.

Aaron nods, steps closer to Junji. Marty still translates:

AARON  
But there are also stories of a  
man who saw a giant dragon. A  
dragon that breathed fire and made  
tidal waves.

He waits. Nothing. He sighs--  
\--and then Junji speaks. Marty translates to English:

JUNJI/MARTY  
A storm killed my wife. And I am  
a crazy man that no one believes.

 

 

16.

 

AARON  
(Marty translating)  
Every culture has myths about  
dragons. The Midgard Serpent,  
Quetzacoatl. The dragon that  
sleeps at the heart of the  
world...  
(beat)  
Only I don't think they're just  
stories.

MARTY  
(in Japanese)  
He even wrote a book about it.

Before Aaron can stop him, Marty pulls out an oversized  
paperback, hands it to Junji.

Aaron's photo is on the back cover. Junji looks from it to  
Aaron. Aaron, a little sheepish, strikes the same pose, smiles  
the same smile. Junji turns the book over. His eyes widen--

'THE WAKING DRAGON' by Aaron Vaught. The cover is an old wood  
print of a dragon; it vaguely resembles Godzilla. Junji  
hurriedly opens the book to a photo: an Aztec hieroglyph of  
Quetzacoatl, again Godzilla-like.

Junji flips through the book, becoming more excited with each  
photograph, each reproduced drawing. He pauses--

CLOSE ON: an Assyrian carving of a dragon and a gryphon, wrapped  
around each other, locked in combat.

AARON  
(Marty translating)  
I believe in dragons, Junji.

Junji looks up at him--then stands suddenly, and hurries off,  
carrying Aaron's book. Aaron and Marty follow.

 

EXT. PACIFIC OCEAN - BLUFFS - EVENING

Aaron and Marty's car sits near the wall. Suddenly illumined by  
high-powered flashlight beams. POLICEMEN swarm in. One climbs  
to the roof, pulls Marty's coat off the wall. Displays it to--

PIKE, wearing a scowl he was born with. He stands in front of  
two other AMERICAN AGENTS. All wear sharply-tailored black  
suits and no-nonsense expressions.

Pike rolls his neck, a characteristic tic, CRACKING it.  
Gestures for the police to move in--

 

 

17.

 

INT. JUNJI'S COTTAGE - EVENING

Simple in design: futon, low table, bath screened off.  
Junji looks around conspiratorially, loosens a floorboard.

JUNJI  
(in Japanese)  
The doctors would take these if  
they knew--

He reaches into a space beneath the floor, digs out sheaves of  
paper. They spill toward Aaron, a flood of paper--

\--drawings of Godzilla. Hundreds. Aaron and Marty sift through  
them, moving carefully to not step on them. Junji speaks  
excitedly; Marty listens, translate for Aaron:

MARTY  
He says he dreams of it.  
Remembers stories from his  
grandfather. About the people  
before people. Stories about--

Junji holds up a drawing. Painted on it are the three Japanese  
Katakana characters for Godzilla.

JUNJI  
Gojira.

Marty whips out a PDA, writes down the name.

AARON  
Have we ever indexed that name?

MARTY  
No--wait, yes...In 1928, Atkinson  
translated the characters  
as...Godzilla--

He cuts himself off. A particular drawing has caught his eye.  
He kneels beside it, staring. Aaron joins him.

It is a painting. A gryphon, curled into a fetal position, in  
a mound beneath the earth. Godzilla breathing fire on it.

MARTY  
The adversary?

Aaron nods, picks it up--

Suddenly, two uniformed POLICEMAN burst into the cottage. They  
move toward Aaron and Marty, who back away. Aaron folds the  
paper, slips it into his pocket.

Junji, panicked, crawls, picking up his drawings, holding them  
to his chest.

A DOCTOR and several ATTENDANTS enter.

 

 

18.

 

DOCTOR  
(to Aaron)  
You are trespassing. And you have  
upset my patient.  
(in Japanese)  
(re: the drawings)  
He should not have these.

The Attendants begin gathering up the drawings. 

AARON  
You can't take those away--

The police escort Aaron and Marty roughly to the door--

 

EXT. MORI OGAI CARE INSTITUTE - GROUNDS - EVENING

Outside, agent Pike stands, flanked by his agents. He flashes  
his credentials at Aaron:

PIKE  
Pike, National Security Council.  
You'll want to come with us.  
(to the police)  
Thank you, gentlemen. We'll take  
them from here.

AARON  
(to Marty)  
Did I call you paranoid? I  
apologize.

The Attendants escort Junji away. Junji twists free. In broken  
English, to Aaron:

JUNJI  
I am not a crazy who sees things--  
(beat)  
I am crazy because of what I saw!

Aaron regards him. The two men lock eyes.

AARON  
I believe you.

Junji looks relieved. His mouth trembles into a slight smile,  
grateful for being believed. Aaron and Marty are escorted away.  
Junji sadly, resignedly, watches them go.

 

EXT. TRAVELLER, UTAH - DAY

A sign reads: 'Now Entering/Now Leaving Traveller Utah Welcome  
and Good-bye.' Along the bottom it proclaims: 'Visit the  
Glistening Caves--Guaranteed 30 Degrees Cooler!'

 

 

19.

 

A battered pickup with full gun racks rolls past. A BORDER  
COLLIE rides happily in the back on bales of hay. 

 

FADE UP TITLE:  
TRAVELLER, UTAH - SOUTHWEST UNITED STATES

The pickup pulls up at a gas station/cafe, next to a sheriff's  
4X. Two ranch hands, JOHN and STU, get out. The Collie jumps  
down. Sniffs the air, heads out toward the road.

STU  
Hold it a second.

He pauses in front of the truck, lights up a Pall Mall.

JOHN  
(an old complaint)  
Goddammit, Stu, when you gonna  
quit?  
(Stu ignores him)  
And aren't you supposed to smoke  
after you eat?

Stu takes a satisfying drag, grins.

STU  
It's whatcha call an appetizer.

The Collie suddenly STOPS. Makes a low GROWL toward the sky.  
Then it starts to HOWL--

 

EXT. UTAH - DESERT - VARIOUS - DAY

Grazing HORSES raise their heads, look around, nervous.  
VULTURES on a gnarled branch edge sideways, then swoop away.  
A crawling LIZARD stops, tilts its head. A COYOTE howls. A  
SNAKE coils defensively.

A MOUNTAIN LION leaps atop a rock outcropping, surveys the  
desert floor. Then, suddenly startled, it crouches down, looks  
up over its shoulder--

ANGLE - THE SUN,

huge, blazing, blindingly white. At its center, barely  
noticeable at first, is a tiny black dot...growing larger as it  
approaches. Soon it ECLIPSES the sun...it is an ALIEN PROBE,  
hurtling toward us, taking us into DARKNESS--

The Coyote backs up several steps. The horses move closer  
together, rubbing past each other, spooked. The lizard scurries  
away-- 

In the sky, the Alien Probe ROARS, a BALL OF FIRE now as it rips  
through the air downward--

 

 

20.

 

The horses bolt. The Mountain Lion SNARLS--

 

EXT. LAKE APOPKA - UTAH - DAY

A quiet, remote lake. On the surface is the reflection of the  
approaching Probe. It grows larger--

\--and then the Alien Probe SLAMS into the lake; TONS of water  
are DISPLACED. The rest HISSES, BOILS, churning upwards into a  
CURTAIN OF STEAM. Nearby treetops EXPLODE INTO FLAME--

 

EXT. ARCTIC OUTPOST - DAY

Wind-blown snow washes across the familiar icy landscape. A  
SOLDIER trudges toward one of a cluster of shacks that sit at  
the edge of the gaping crevice of Godzilla's womb.

Suddenly a low RUMBLE builds to a deep, rending GRINDING SOUND.  
The Soldier turns: in the distance a PILLAR OF LIGHT shoots  
toward the sky. 

The light emerges from a huge CRACK in the ice. A GLOWING  
CHAMBER pushes up, cutting through the ice. It is dome-shaped,  
a series of huge bubbles arranged in the regular/irregular  
pattern of a Mandlebrot equation.

The Soldier backs away from it...turns and RUNS toward a low  
building--so fast he slips, falls hard on the ice. He gets up,  
pulls open the door--

 

INT. ARCTIC OUTPOST - COMMUNICATIONS ROOM - DAY

The Soldier flips on the radio, grabs the mic.

SOLDIER  
Nome, this is Outpost 42--come in!  
Jesus, come in--

The radio emits a HIGH-PITCHED SQUEAL. He clicks the dial; the  
SQUEAL covers all channels--

 

EXT. TRAVELLER, UTAH - DAY

In the cafe window, the corner-mounted television flips to  
static. We hear the same HIGH-PITCHED SQUEAL.

Outside, the Collie darts between John's legs, under the pickup.  
Cigarette smoke drifts toward John; he waves at it.

JOHN  
Haven't you ever heard of second-  
hand smoke?

 

 

21.

 

STU  
Yeah, you ever hear of a second-  
hand ass-kicking? That's when I  
think about hitting you so hard,  
you feel it--

WHACK! Suddenly, for no apparent reason, John is knocked flat.  
Stu stares.

STU  
Huh. Guess I wasn't kidding.

JOHN  
What the hell hit me?

Stu looks, points: a mangled frog, dazed, lies beside John.

STU  
Someone shot a frog at you.

BANG! Another frog bounces off the roof of the truck. Another  
one SLAPS down onto the street. 

STU  
Shit--they're shootin' frogs at  
both of us!

And then comes the DELUGE: Rain, frogs and fish pour down from  
the darkened skies. 

They BANG off the corrugated tin roof of the cafe. The 4X's  
siren light bar SHATTERS. Stu and John leap into the pickup.

The Sheriff exits the cafe, hand on gun. A roly-poly WAITRESS  
follows. They stare as:

Frogs and fish plummet, breaking windshields. Electricity  
CRACKLES as telephone wires are snapped. Beneath the pickup the  
frightened Collie looks out at the madness.

WAITRESS  
Like in the bible...A plague is  
being visited on us. It's a sign  
of the millennium...

On a store porch, NELSON FLEER appears. The sign above  
advertises: Wilderness Guide/Cave Diving/ Prospecting/Nelson  
Fleer, Prop. A tall, athletic man, Fleer carries a dive tank in  
one hand, a wrench in the other.

The rain of frogs and fishes slowly abates. The Sheriff moves  
into the street, hand still on his gun, peering warily up at the  
sky, and stepping gingerly. Fish gasp and flop. Some frogs  
twitch, the less mangled ones try to hop.

FLEER  
Damn. I hate weird shit.

 

 

22.

 

He sees a dead frog on the rail. Flicks it; it flops to the  
ground. A final glance at the sky, then Fleer ducks inside.

WAITRESS  
(starts to pray)  
Oh, God. Grant us strength to  
overcome our sins that displeased  
you...

SHERIFF  
(a sigh)  
Grant us strength to clean this  
mess up.

A SQUISH as he missteps. He lifts his leg to check the bottom  
of his shoe, curses.

 

INT. JETLINER - LOUNGE - IN FLIGHT - DAY

Aaron and Marty wait in the plush lounge, uncomfortable.  
Special Agent Pike enters, extends a thick file.

PIKE  
Here. You're to familiarize  
yourself with these materials.

Puzzled, Aaron takes the file. On the front is a logo: an  
armored gauntlet holding a sword. Emblazoned with the words ST.  
GEORGE PROJECT. Stamped TOP SECRET.

Aaron opens the folder. His eyes widen. Marty leans in, over  
his shoulder--

The first page is a photo of Godzilla's head as he was found,  
half-buried in ice. A bio-suited figure gives it scale. Aaron  
flips back to the cover.

AARON  
The St. George Project?

Grinning, Pike tilts his head, CRACKS his neck.

PIKE  
Mr. Vaught, your government would  
like to offer you a job.

 

INT. ST. GEORGE PROJECT - CONFERENCE ROOM - DAY

Imbedded in a conference table is the gauntlet-and-sword logo of  
the St. George Project. Aaron's book 'The Waking Dragon' is  
tossed, lands on the logo.

ED  
This is unacceptable. It's...  
it's...an insult to the work that  
we've done.

 

 

23.

 

FADE UP TITLE:  
FORT TUSCARORA, MASSACHUSETTS  
HEADQUARTERS, THE ST. GEORGE PROJECT

ADMIRAL TIMOTHY BENEDEK sits at the head of the table. His deep-  
carved laugh lines contrast with his razor cut bearing.

BENEDEK  
Concerns have been raised about  
the lack of results. I cut a deal  
to keep your funding.

ED, a scientist wearing trademark white T-shirt, leans back from  
the table, frustrated.

ED  
(spits out the word)  
Politics.

BENEDEK  
Your feelings, Dr. Llewellyn?

At the far end of the table, a FIGURE sits in shadow, hidden  
from view. The FIGURE stands into the light--

\--and we reveal not Keith Llewellyn, as expected, but his wife,  
Jill. The time passed has not diminished the passion in her,  
but events have darkened it, given it a steely edge.

JILL  
If he's being groomed for my job,  
I want to know it.

BENEDEK  
Vaught will start in an advisory  
role. If that gets results, there  
won't be need for any further  
changes.

Jill considers this.

JILL  
I'll think about it.

BENEDEK  
Think fast--he's on his way.

 

EXT. FORT TUSCARORA - ST. GEORGE PROJECT - DAY

Pike puts his palm on a palm-lock, peers into a retina scanner.  
Aaron and Marty glance at each other nervously.

Door locks UNCLAMP. Pike steps through--

 

 

24.

 

INT. ST. GEORGE PROJECT - SITUATION ROOM - DAY

Aaron and Marty follow Pike into the situation room. Glass  
walls surround a combination of mission control and a science  
lab. Marty looks out through the glass, gasps--

The glass building sits inside a larger structure which contains  
a huge WATER-FILLED TANK, stretching off into the distance, the  
size of a small lake. Pike sees them looking at it, explains:

PIKE  
To store the beastie--if we ever  
find it.  
(grins)  
Dr. Llewellyn calls it the  
dissection tank--

At the far end of the room, Jill bursts through a door, angry.  
Benedek follows her.

BENEDEK  
The man has drawn some correct  
conclusions--

JILL  
He's made lucky guesses. Aaron  
Vaught is no scientist. He's a  
folklorist who believes in the  
lost continent of Atlantis. He's  
a crackpot.

BENEDEK  
He's a popular crackpot. The  
President has read that book--

Jill speaks to Benedek, oblivious to Aaron's presence:

JILL  
Listen. Vaught wants to...to  
collect this thing. To index it.  
To write books about it and earn  
lecture fees talking about it and  
pose for goddamn photos with it.  
(fierce)  
I just want to kill it. So you  
see, there is a conflict.

AARON  
Hi.  
(Jill glances at him)  
I'm Aaron Vaught. Maybe you've  
read my book..?

Jill regards him. Locks eyes with Benedek. Adamant:

 

 

25.

 

JILL  
That creature killed dozens of  
people--including my husband. Our  
mission stays the same. We find  
it-- and then we kill it.

This point is not negotiable. Benedek nods.

BENEDEK  
Your mission hasn't changed.

A VIDEOPHONE near Ed chimes. He answers it.

ED  
I think it's for you.

He turns the phone to Jill. ON SCREEN: A MILITARY POLICE  
OFFICER, wearing a white MP helmet and a scowl.  
Jill rolls her eyes. She knows what its about.

JILL  
Tina.  
(to the phone)  
I'm on my way.

She exits, pushing past Aaron. He watches her go, then Benedek  
hands him the copy of his book.

BENEDEK  
Here. The President asked if  
you'd sign this for him..?

Aaron takes the book, a little shell-shocked.

 

INT. SECURITY OFFICE - NIGHT

Standard issue office, standard issue desks, standard issue MP  
leads Jill through the bullpen.

MP  
She was arrested in the motor  
pool. Trying to hot-wire a jeep.

TINA sits in a chair beside a desk.

TINA  
I've got to remember: red wire to  
green wire.

She is sixteen now, grunge clothes, hair buzz-cut on one side.  
But the camouflage doesn't quite hide the bright, attractive  
young woman she really is.

MP  
If she continues to be...  
unmanageable, you and she will be  
expelled from base housing.

 

 

26.

 

JILL  
I think that's her plan.

 

INT. CAR - NIGHT

Jill winds the car through clone-identical base housing.

TINA  
There is nothing here for me, mom.  
Just a bunch of grunts and  
eggheads. No offense.

JILL  
(icy)  
None taken.

TINA  
You should let me go live with  
Aunt Julia--

JILL  
I'm not having this argument  
again. This is where my job is.  
Ergo, this is where you are.

TINA  
I'm sick of this place! I'm sick  
of army brats and the MPs and the  
PX...and I'm sick of green. There  
isn't even a mall anywhere  
nearby...

JILL  
Oh, as though you're going to go  
hang at a mall.

TINA  
(smiles)  
Well...okay. Right on that.

She regards Jill, considering something. Proceeds warily.

TINA  
But...I'm not just thinking of me.  
I'm really not. I'm...I'm worried  
about you, mom.

Jill glances at her. This is of real concern to Tina.

TINA  
I think you need to get out of  
this place, too. I don't think  
its good for you.

She gauges Jill's reaction. So far, so good. Takes a deep  
breath, plunges ahead:

 

 

27.

 

TINA  
Ever since Dad died, you've...you  
changed, okay? Maybe we didn't  
always get along, but--

JILL  
Do not pursue this, Tina. And do  
not blame our difficulties on...on  
that.

TINA  
I'm not! Jeez, you can't even  
talk about it.

Obviously a vulnerable spot for Jill. She looks away. A long  
silence in the car. They both stare out the front windshield.  
Tears well up in Tina's eyes.

Jill pulls the car up into the driveway of their house. Tina  
lets out a loud sob, surprising Jill, and bolts from the car.  
Jill climbs out quickly, calls after her--

JILL  
Tina! Tina--

Tina pauses on the porch--  
And then Jill's BEEPER SHRIEKS.  
She checks it. Tina waits on the porch, arms folded.

JILL  
I've got to go.

She climbs back in the car, backs out of the drive.

TINA  
Quell surprise.

The car's headlights sweep across Tina, and then she is alone on  
the darkened porch.

 

EXT. LAKE APOPKA - UNDERWATER - DAY

FADE UP TITLE:  
LAKE APOPKA  
TEN MILES NORTHWEST OF TRAVELLER, UTAH

The Alien Probe descends into frame, its smooth metal-chrome  
surface slicing easily through the water. Ahead is a submerged  
CAVE OPENING. We follow as the Probe is swallowed into darkness--

 

INT. BAT CAVERN - DAY

Dim light filters down. Water laps against an underground sandy  
shore. The Alien Probe rises though the murky depths--

 

 

28.

 

\--and breaks the surface of the water. Several BATS, startled,  
fly past, circling the cavern.

ANGLE - CEILING, where HUNDREDS and HUNDREDS of BATS hang,  
crawling over each other, emitting an occasional squeak and  
flutter.

In the water, the Alien Probe ROTATES, as if targeting the bats.  
Suddenly the Probe ERUPTS--silvery cables EXPLODE out from the  
probe in all directions.

A bat is ensnared in by a cable. The bat struggles, wings  
flailing, SCREECHING. There is the sound of SEARING FLESH--

Across the cavern, another bat is taken. Then another.  
SCREECHING and FLAPPING, the bats fly, panicked. One bat heads  
toward light at the ceiling, soaring toward freedom--

It is SNARED by a cable. More bats are taken, and more,  
building up to--

ANGLE - THE CAVERN, completely covered, overrun by the liquid-  
chrome cables, a complex three-dimensional web. The bats are  
absorbed by the cables, their masses sucked toward the center of  
the web--

\--where something grows. Roughly five feet tall, we can just  
begin to see bat-like features--

 

EXT. UTAH - UPPER CAVE MOUTH - DAY

A narrow crevice on the face of a cliff, high above the  
devastated lake.

Something--many somethings--sail out into the sky, twelve-foot  
wingspans just clearing the opening. Giant horrors, mutated  
from bats by the Alien Probe--

The PROBE-BATS sweep out across the land, hunting...

 

EXT. ARCTIC - SKY - DAY

A transport plane drops out of dense clouds, banks in a long  
slow curve over the remains of Godzilla's womb site-- 

 

INT. TRANSPORT PLANE - IN FLIGHT - DAY

Out the windows the horizon tilts as the plane banks. Aaron,  
Marty, Jill and Ed on board. Aaron cranes to see--approaching  
below them are the irregular large spheres of the new cavern.

AARON  
That's the source of the radio  
burst?

 

 

29.

 

ED  
(nods)  
Worldwide interference, narrowing  
down to a single directional band--

JILL  
(sees it)  
My God. That whole structure  
wasn't there before--

 

EXT. ARCTIC - SKY - DAY

The transport plane disappears into low clouds--

 

EXT. ARCTIC - OUTPOST - DAY

Wind blows loose snow. Silhouettes of Aaron and Marty appear,  
wearing heavy military parkas. They follow Jill, ahead of them,  
to the edge of Godzilla's womb.

Jill pauses, looks down. Her eyes are distant, remembering--  
this is where her husband died. Aaron and Marty wait. Aaron  
shivers, shakes his head.

AARON  
I hate cold weather.

He's unknowingly struck a nerve. Jill shoots a look at him.

JILL  
My apologies for your discomfort,  
Mr. Vaught. We can return you to  
a warmer clime, if you like.

She doesn't wait for an answer, climbs down into the womb.

 

INT. WOMB CAVERN - DAY

The group is escorted by a burly French SCIENTIST. Ahead, rope  
ladders have been strung up toward a dark crevice.

SCIENTIST  
Entrance to the new cavern is  
above that outcropping, there--

Jill spots something, kneels. A rivulet of red/black amniotic  
fluid oozes from of a nearby fissure. Army personnel collect it  
in large yellow canisters.

SCIENTIST  
It started flowing at the same  
time the new cavern appeared.

MARTY  
What is it?

 

 

30.

 

SCIENTIST  
Same stuff the original team  
found. Like amniotic fluid--

JILL  
Send it south for testing. I want  
to know if it is the same.

She looks over, notices Aaron staring at a crumpled, folded  
paper: Junji's drawing. He looks from it to the cavern.

AARON  
(to himself)  
...the adversary?

JILL  
Aaron? Will you share with the  
rest of the class?

AARON  
Hm? Oh...uh...it's common in  
mythology for  
(shrugs; forges ahead)  
For the great dragons to have  
opponents...adversaries.  
Sometimes it's a sun-king,  
sometimes another monster--  
(for instance)  
In the Bible, Leviathan and  
Behemoth--

MARTY  
Right. So we figure, if Godzilla  
exists--

JILL  
You've given it a name?

MARTY  
We found out its name.  
(beat)  
So--if Godzilla exists...then  
where is its adversary?

Marty's eyes drift upward, over to the dark entrance of the new  
cavern. Jill rolls her eyes, grabs a biohazard suit--

 

INT. WOMB CAVERN - NEW CAVERN ENTRANCE - DAY

Jill pulls herself up over a final rise--and her eyes widen.

The entrance of the newly-discovered 'cave' is almost perfectly  
round. Inside, the walls are finely-textured and greenish  
colored, similar to Godzilla's skin.

 

 

31.

 

Aaron and Marty, wearing biohazard suits, climb up, gawk at the  
structure. Jill pulls her protective hood on, steps forward.  
There's a dark, flaky substance around the edge of the entrance.  
She shines her flashlight onto it, frowns.

JILL  
Organic matter, dehydrated,  
petrified--

AARON  
A doorway, maybe? Or what's left  
of one. An organic doorway.

Aaron takes her flashlight, pushes past, into the cavern. Jill  
raises an eyebrow at him, follows.

 

INT. NEW CAVERN - DAY

Dim, otherworldly. Aaron shines the light. The walls are green  
and blue, delicate lines running throughout like roots or veins--  
but too symmetrical to be natural. Very weird.

AARON  
(hushed)  
This entire structure seems  
organic--  
(an insight)  
Hey...remember Junji's  
grandfather's stories? The  
'people before people?'

MARTY  
Right--

AARON  
Imagine a civilization without  
mechanical technology...but they  
do have an organic technology.  
Bio-constructs, genetic  
engineering--

MARTY  
Yeah, yeah! There wouldn't be any  
relics or evidence of it--it would  
all decay--

AARON  
Except this place. This place  
is...special, somehow.

Jill stares at them.

JILL  
You don't go in for empiricism at  
all, do you?

 

 

32.

 

AARON  
What?

Jill takes the flashlight back, starts deeper into the cavern.

JILL  
You spout stuff like that, huge  
leaps of logic, a total guess, and  
in your mind, it's already true.

AARON  
It's not just a 'guess.' You  
extrapolate from known--

JILL  
You guess. Admit it.

AARON  
You search for the underlying  
patterns--

JILL  
You guess.

She turns her back on him, heads deeper into the cavern. Aaron  
grins at her.

AARON  
Yeah, well, I'm a good guesser.

 

INT. NEW CAVERN - PASSAGEWAY - DAY

Marty, breathing a little hard, follows behind Jill and Aaron.  
He stumbles. Inside his protective hood, HIS VISOR IS FOGGING  
UP. He tries to rub it through the material, can't.

Ahead, he hears Jill and Aaron gasp.

AARON (O.S.)  
Wow...

Marty hurries forward, emerging out into--

 

INT. NEW CAVERN - INNERMOST CHAMBER - DAY

A bizarre sight. Rows of round, cauliflower-shaped objects hang  
down from the ceiling a few feet over their heads. Also green  
in color, shot through with a complex blue structure.

Marty breathes out hard through his nose. The visor defogs  
briefly--then immediately re-fogs.

JILL  
So, Vaught...where are we now?

Aaron considers. Suddenly we CUT TO:

 

 

33.

 

HIGH ANGLE - LOOKING DOWN,

on Jill, Aaron and Marty. It's a surveillance-type angle, the  
sudden shift in perspective creating the feeling that something  
is watching them.

AARON  
I wonder...this structure appears--  
then it signals us to let us know  
its here...  
(chasing an idea)  
Godzilla was discovered  
accidentally...maybe prematurely? 

MARTY  
We were supposed to find this  
first...

Marty gives up--he wants to see. He pulls up his hood briefly  
to wipe the visor--

Suddenly, shockingly we SHOOT DOWN TOWARD MARTY--

CLOSE, TOWARD HIS NECK, UNDER THE HOOD, TOWARD HIS EYE--

INTO A MICROCOSMIC LANDSCAPE,

We are the P.O.V. of whatever was watching them. When Marty  
lifted his hood, it attacked. We--and it--move through this  
bizarre, truly alien world.

Hair follicles--Marty's eyelash--loom above, big as trees.  
Ahead is the colorful, beautiful cornea--

MOVE IN CLOSER STILL, into the realm of the electron microscope.  
The cornea is a landscape of individual cells--

\--and now we see the thing, as it moves ahead, into frame. It  
is an ALIEN OBJECT, microscopic in size, of course, but in this  
world looming large as a jetliner--  
It is spiral shaped, shiny--  
It could be an organism, or a machine--

The alien object suddenly DIVES DOWN, twisting, burrowing  
through the microfilement of a cell, INTO MARTY'S EYE, past the  
retina, plunges into the optic nerve-- 

BACK TO SCENE

as Marty lowers the flap of his hood. The foray into the  
microcosmic world has lasted just a few seconds. Marty drops to  
one knee, blinking.

AARON  
You okay?

 

 

34.

 

MARTY  
(nods he's all right)  
Something in my eye.

AARON  
So if we find this before Godzilla--  
this could be here to give us  
information about Godzilla.

JILL  
So what you're saying is...This is  
the owner's manual?

AARON  
Well, that makes it sound a little  
silly...but, yeah.

Jill shakes her head. Starts back up the tunnel.

JILL  
Keep guessing, Aaron...that's  
you're here for.

 

INT. WOMB CAVERN - DAY

Aaron, Jill and Marty climb out. Jill pauses, surveys the  
strange domes of the new structure. Marty pulls a canteen from  
his belt, begins to drink.

JILL  
We were definitely brought here.  
The question still is, why?

She looks at Aaron for an answer. He has none. She heads  
toward the outpost structures. Aaron turns to follow. Marty is  
still drinking--

AARON  
Marty--c'mon, get a move on.

Marty has drained the canteen. He lets the empty canteen fall  
to the ground. Wipes his mouth, licks his lips--he's still  
thirsty.

 

EXT. UTAH - RANCH - DAY

FADE UP TITLE:  
QUINCY RANCH, OUTSIDE TRAVELLER, UTAH

The BUZZING of FLIES. At the edge of a stream, several cows lie  
dead, mutilated. A single calf BLEATS, trembling, standing next  
to the remains of its mother.

A VULTURE flutters down, gnaws at a nearby corpse.

The calf BLEATS again.

 

 

35.

 

In the brush nearby, we become aware of a MOUNTAIN LION,  
crouched, stalking forward--nine feet and three hundred pounds  
of muscle. It is focused on--

The calf. Unaware, it lets out another BLEAT.

The Mountain Lion tenses, ready to spring--

Suddenly a DARK SHAPE sweeps down, attacks the Lion: one of the  
PROBE-BATS. The Lion SNARLS and ROARS. The predator has become  
prey, fighting for its life--

The Vulture flaps its wings, trying to lift off--a Probe-bat  
streaks by and the Vulture is gone--

Another Probe-bat dives toward the Mountain Lion, razored teeth  
bared in its muzzle--  
The Lion screams, leaps, brings the Probe-bat down. But two  
more attack, claws slashing the flank of the big cat--

More bats, and the Lion is overcome. Several Probe-bats latch  
onto it, lift it into the air. They MERGE with it, talons of  
the probe-bats melting into the body of the Mountain Lion. They  
carry it up, across the stream, the cat's BLOOD running from its  
wounds into the water.

At the water's edge, still trembling, is the calf. It lets out  
a final BLEAT. The stream flows past, the Mountain Lion's blood  
staining it red.

 

EXT. PACIFIC OCEAN - DAY

Sunlight glares off still water. Three small fishing boats--  
Larry, Moe, and Curly, Seattle registry--swelter in the heat,  
nets winched up on their booms.

 

FADE UP TITLE:  
PACIFIC OCEAN - 159:30 LAT, 28 LONG

The engine of the Curly cranks over, will not catch. Black  
smoke pours from the open engine compartment. The CAPTAIN of  
the fleet gestures to cut it.

CAPTAIN  
My dear old ex-wife Sally musta  
struck some kinda deal with God to  
screw me so royal...

CREWMAN  
Captain!  
(points northwest)  
What's that?

The Captain looks northwest. Squints.  
A SECOND CREWMAN wears a pair of binoculars around his neck.  
The Captain jerks him over, puts the binocs to his eyes.

 

 

36.

 

P.O.V., THE CAPTAIN - THROUGH BINOCULARS: on the horizon, the  
sea has turned to molten silver, sunlight glinting off of  
something, a million bright sparkles, racing toward them.

The Captain's mouth drops open. He lowers the binocs.

CAPTAIN  
(a near-whisper)  
...nets in...  
(finds his voice)  
NETS IN! NETS IN!

He leaps to the winch, starts cranking down the net. Looks back  
to the horizon--

The sparkles draw closer--  
Shouts from the boat crews as they realize what it is--

\--FISH, MILLIONS OF THEM, all swimming towards the southeast,  
churning through the water, turning it a glittering silver. An  
ichthyic stampede.

The boats have nets in the water as the living wave hits--

UNDERWATER, all sizes, all varieties of fish SLAM into the nets.  
Predator and prey, small and large, they are pressed tight by  
more fish coming from behind. The net tears in places; some  
fish burst through--

Above, the nets go taught, filling quickly. The boats are  
buffeted. They jerk around, yanked along by the momentum of the  
onslaught of fish, tipping to netside.

CAPTAIN  
Haul, men! She don't got no pull  
with the good Lord after all!

The crews, WHOOPING and HOLLERING, haul the nets up, spilling  
tides of fish--tuna, yellowtail, snapper, some dolphins--across  
the decks. More fish leap aboard of their own volition, trying  
desperately to outrace something.

Nets still in the water pull the boats along, the filament  
screamingly taut--

Larry's net rips open, the boat rocking back. On the Curly, the  
winch creaks, groans--SNAPS OFF, takes a crewman over the side--

He SCREAMS as racing bodies slam into him, the torrent of fish  
overwhelming him, carrying him under and away--

\--and then, just as quickly as it began...  
...the onslaught is over. The fish are past, disappearing to  
the southeast. The waters empty, going from silver to blue.

The Moe's crew pulls in a last netfull of fish. The Larry's  
nets hang limp. The decks of all three boats are piled high  
with flopping, squirming fish.

 

 

37.

 

And then the Crewman spots something to the northwest, the  
direction the fish came from--

CREWMAN  
Captain--  
(he points)  
More fish?

The Captain looks--

Something else is coming at them, moving fast just beneath the  
surface. The water is humped, cresting over the huge shape--  
Godzilla, doing forty knots.

SECOND CREWMAN  
Tidal wave! It's a tidal wave!

Other crewmen see it, pointing, shouting--

CAPTAIN  
Get the engines started! Let's  
get out of here!

He sees the open engine compartment, tools and parts scattered  
around. Realizes there's no escape--

CAPTAIN  
(a scream to the  
heavens)  
SALLY, YOU BITCH!

\--THE CREST OF WATER HITS the fleet, tossing the little boats,  
capsizing the Moe immediately, slamming the Larry and Curly  
together almost comically. Crewmen go overboard as planks give  
way and sea water fountains up through the deck.

The wake is just as turbulent. Men disappear beneath the white  
water. The Larry goes belly-up. Curly lists sixty-degrees--

And the fish slide from the deck, back into the water, and they  
swim for it, disappearing into the black depths...

DISSOLVE TO:

 

INT. ARCTIC OUTPOST - COMMUNICATIONS ROOM - DAY

A COMM OFFICER hands Jill a headset. Aaron right behind her,  
but pointedly ignored. Marty stands at a water cooler, filling  
and drinking a cup of water incessantly.

COMM OFFICER  
I've got the U.S.S. Idaho, part  
of the rescue team--

JILL  
Yes...yes...how many ships?

 

 

38.

 

COMM OFFICER  
We've got video--

A VIDEO SCREEN flashes to life, showing the rescue ship  
communications room. A young LIEUTENANT speaks INTO CAMERA.

LIEUTENANT  
(filtered)  
\--Must've been at least three  
boats to begin with, I'd guess.  
Just pieces left now.

JILL  
Any eyewitnesses?

LIEUTENANT  
(filtered)  
Yeah, a couple, 'cept they don't  
make any sense--

Suddenly the audio drops out. The Lieutenant is still on  
screen, his lips moving, but no sound.

COMM OFFICER  
We've lost audio.  
(beat)  
I can patch in through the ham.  
There'll be a delay--

JILL  
Do it.

The Comm Officer is already doing it. Switches are flipped,  
dials turned--and the audio is back.

(With the radio audio delayed, the Lieutenant's lips don't sync--  
our tribute to dubbed Godzilla films of years past.)

LIEUTENANT  
(filtered)  
\--reported a tidal wave. Another  
described it as a creature, like  
a dragon. 'It came up from  
beneath us,' he said...

The audio CRACKLES. Jill looks at Aaron. Could it be?

LIEUTENANT  
(filtered)  
...too big to be a whale--some say  
it had arms and legs. Right now  
we're not sure just what we're  
dealing with...

The audio fades out. The Comm Officer works to get it back.

AARON  
Godzilla.

 

 

39.

 

JILL  
It has to be.

Marty suddenly thinks of something he needs to say. He takes a  
step toward Aaron and Jill--  
\--and COLLAPSES against the water cooler, knocks it over. The  
water bottle bounces, clatters on the floor--completely empty.

AARON  
Marty!  
(rushes to him)  
Get a doctor, quick!

 

INT. GEODESIC DOME - INFIRMARY - DAY

Marty is wheeled in, a MEDIC examining him. A NURSE applies  
chemical heat pads to Marty's hands and feet.

MARTY  
I just need a glass of water...

AARON  
Can we get him to better  
facilities?

MEDIC  
Don't worry. We'll handle it.

The Nurse tugs away Marty's jacket--  
Gasps, drops the jacket.

Marty's shoulders are swollen, his collarbones distended  
grotesquely. 

The Medic turns, looks. The bones in Marty's shoulders MOVE  
with a life of their own. THEY SHIFT, repositioning themselves  
under Marty's skin. The Medic's eyes go wide.

MEDIC  
Holy Christ.  
(back to business)  
Once he's stabilized, uh, let's  
get him to better facilities--

 

EXT. ARCTIC OUTPOST - AIRFIELD - DAY

Marty, on a stretcher, is loaded into the cargo bay of a C-130.  
Aaron helps. Behind Marty are yellow canisters--fluid from  
Godzilla's womb.

MARTY  
So...you think it's really  
Godzilla?  
(Aaron nods)  
Man...I wish I could see it.

 

 

40.

 

Aaron clasps his hand.

AARON  
If I meet him, I'll tell 'em you  
said 'hi.'

Marty manages a weak smile.

MEDIC  
(to Aaron)  
Exit the craft, sir.

Aaron hops down from the cargo bay. Looks in--

CLOSE ON - Marty, as the cargo door SLIDES SHUT. The engines  
WHINE as they start up.  
Jill steps up next to Aaron, puts a hand on his shoulder.

JILL  
It's been sighted again. A  
direction's been established, and  
they're predicting a destination--

AARON  
Where?

Jill turns her head away from the engines. She has to shout  
over the noise:

JILL  
San Francisco.

 

EXT. PACIFIC OCEAN - DAY

AERIAL VIEW of cruise ship, majestic, cutting across the sea,  
wake spread out behind it. Deck crowded with tourists.

A HUGE, SHADOWY SHAPE overtakes the liner, passes BENEATH  
it: Godzilla.

The liner is rocked by the monster's passage.

DISSOLVE TO:

 

EXT. GOLDEN GATE BRIDGE - FORT POINT - DAY

FADE UP TITLE:  
FORT POINT, SAN FRANCISCO

The Golden Gate Bridge. Beneath it sits Fort Point. Heavy  
artillery is being deployed. A state of siege. A jeep pulls  
up. Jill and Aaron, still dressed for the Arctic, hop out.

 

 

41.

 

INT. FORT POINT - COMMAND CENTER - DAY

The high-tech command post. Large view screens dominate the  
room. Admiral Benedek is there, and so is Pike. Jill hurries  
in, Aaron in her wake.

JILL  
What's its latest position?

BENEDEK  
It's twenty miles from the battle  
group. They'll have it in visual  
range soon.

AARON  
Godzilla.

JILL  
(off Benedek's look)  
That's what he's calling it.

AARON  
(nods)  
Godzilla.

PIKE  
Why don't you two sit over there?

Jill and Aaron look at the chairs, glance at each other.

JILL  
I'll stand.

AARON  
(re: the battle group)  
Do you think that's enough  
firepower?

ON SCREEN: An aerial view of the Pacific Ocean. A battle group  
dots the water--two destroyers, two frigates, two attack subs,  
two blue ridge class vessels, two Avenger class warfare ships.  
Attack helicopters circle the ships.

PIKE  
Don't worry. It'll do the job.

 

EXT. PACIFIC OCEAN - DAY

Choppers rise from the deck of a ship. Guns are uncovered.  
Trained on targets. Rocket launchers are locked into position.  
The submarines Madison and Lafayette plow through the waves.

 

EXT. U.S.S. SARATOGA - DAY

A LIEUTENANT approaches the COMMANDER, who surveys the ocean  
with binoculars.

 

 

42.

 

LIEUTENANT  
Sir, the choppers have spotted it.

 

INT. FORT POINT - COMMAND CENTER - DAY

OPS OFFICER  
Message from the Saratoga--they've  
spotted it!

ON SCREEN: the view shifts, shows the oncoming monster. A dark  
shape beneath the water, moving fast.

Jill and Aaron look, share almost the same reaction: part  
amazement, part fear, part satisfaction. They've both waited a  
long time...but Jill's fists are clenched. Her eyes narrow.

BENEDEK  
The commander may fire at his  
discretion.

AARON  
(softly, quoting)  
'Now shall hard edge, hand and  
blade, do battle for the hoard.'

JILL  
What's that?

AARON  
From Beowulf. His speech before  
he battles the dragon.

PIKE  
Did he win?

AARON  
Yes...but it cost him his army and  
his life.

JILL  
(dryly)  
Inspirational.

ON SCREEN: POV of a helicopter pilot as his craft skims over  
water--

 

INT. FIRST ATTACK HELICOPTER - DAY

As pilot and co-pilot scan the ocean. They spot--  
Godzilla's dorsals rise and fall, breaking the surface.

PILOT  
Target locked.

 

 

43.

 

EXT. U.S.S. SARATOGA - DAY

LIEUTENANT  
They've acquired the target.

COMMANDER  
Fire.

 

INT. FIRST ATTACK HELICOPTER - DAY

As the pilot FIRES--

 

EXT. PACIFIC OCEAN - SKY - DAY

Missiles streak away from the helicopter, toward the moving  
shape--  
They find their targets. Plumes of water rise up--  
Another barrage is fired. More explosions.  
The shape is gone.

 

INT. FIRST ATTACK HELICOPTER - DAY

ATTACK PILOT  
Son of a bitch--did we get it?

ATTACK CO-PILOT  
I think we sank it!

 

EXT. PACIFIC OCEAN - DAY

Godzilla ERUPTS from the water, directly in the helicopter's  
path--

FIGHTER 1  
Evasive! Evasive!

Godzilla BREATHES FIRE--  
The flames engulf the cockpit. The helicopter explodes.

 

EXT. U.S.S. SARATOGA - DAY

COMMANDER  
What...the hell...was that?

 

EXT. PACIFIC OCEAN - DAY

The Second Attack Helicopter banks away. Godzilla watches it.  
It banks to attack--

Godzilla dives forward, his arm sweeping up--  
He grabs the helicopter out of the sky. Hurls it away. It  
skips across the ocean and EXPLODES.

 

 

44.

 

Godzilla ROARS...and keeps coming.

 

INT. FORT POINT - COMMAND CENTER - DAY

The room is quiet. All are stunned at what just happened.

JILL  
My God...

AARON  
(hushed)  
What's that thing made of?

PIKE  
Let's open him up and find out.

BENEDEK  
Order the Madison and the  
Lafayette to engage.

 

EXT. PACIFIC OCEAN - DAY

The Madison and Lafayette submerge.

The Avenger-class ships open fire. Missiles arc across the sky,  
rain down on Godzilla. EXPLOSIONS all along his back. Godzilla  
submerges again.

 

EXT. PACIFIC OCEAN - UNDERWATER - DAY

The Madison moves silently through the water.

 

INT. MADISON - DAY

The bridge. The crew is crisp, calm.

FIRE CONTROL  
We have a firing solution, sir.

CAPTAIN  
Fire.

 

EXT. PACIFIC OCEAN - UNDERWATER - DAY

Torpedoes away. They lock onto Godzilla, gaining from behind--

\--IMPACT! The torpedoes DETONATE, EXPLODE on his back fins.  
A beat. And then--

Godzilla's head comes around slowly. His eyes lock on the sub.  
He scowls even more than usual. He's pissed.

He twists, reverses direction. Charges straight at the sub--

 

 

45.

 

INT. MADISON - BRIDGE - DAY

SONAR  
Captain! It's coming at us!

CAPTAIN  
Surface! BLOW THE BALLAST TANKS! 

 

EXT. PACIFIC OCEAN - UNDERWATER - DAY

\--as the Madison's ballast tanks evacuate. The sub rises, hard-  
angled for the surface--

\--Godzilla passes through the space the sub occupied seconds  
before, a bull just missing a matador--

 

INT. MADISON - BRIDGE - DAY

CAPTAIN  
Thank the lord...

SONAR  
(panicked)  
Captain! There's something above  
us!

There's no more time for prayer--

 

EXT. PACIFIC OCEAN - DAY

\--the Madison SURFACES, bursting from the water--  
\--and rams the second destroyer at midships. A colossal wave  
washes across the bridge of the Sarasota. The second destroyer  
is capsized.

 

EXT. PACIFIC OCEAN - UNDERWATER - DAY

The Lafayette is between Godzilla and the surface. As he swims  
past, he almost nonchalantly reaches out--

His massive claws tear the Lafayette's hull open--

 

INT. LAFAYETTE - DAY

As the claws rip through the hull, water spilling in. The crew  
scramble for emergency stations--

 

EXT. PACIFIC OCEAN - DAY

Godzilla surfaces, almost seems to regard the havoc he's caused  
with pride. HE BREATHES FIRE. A TONGUE OF FLAME, nearly white-  
hot, stabs out at the capsized destroyer, hitting it midships--

 

 

46.

 

The hull MELTS. The EXPLOSION is spectacular. His path clear,  
Godzilla continues on his way, leaving behind the battle group.

 

INT. FORT POINT - COMMAND CENTER - DAY

Jill, Benedek, Pike stare at the screen. Aaron moves on shaky  
legs to the chair he was offered earlier.

JILL  
It really does breathe fire...

BENEDEK  
(a hoarse whisper)  
Contact Air-Sea rescue...let's get  
as many of those men back as we  
can...

Pike stares at the monitor...  
\--and at Godzilla, still headed for San Francisco.

PIKE  
It's fifty miles from the San  
Francisco...it'll be here in an  
hour.  
(ominously)  
Our options are limited.

 

INT. FORT POINT - COMMAND CENTER - DAY

Aaron peers at one of the monitors, at a still frame of Godzilla  
breathing fire.  
Behind him, Jill, Benedek and Pike are in conference with  
several uniformed officials.

BENEDEK  
Goddammit, Pike--If we go nuclear,  
with the winds and currents, even  
our smallest yield device could  
irradiate the coast--

PIKE  
And that thing would be dead. Any  
additional loss of life or  
property would be acceptable.

Jill looks troubled--she almost agrees with Pike.

AARON  
You know, he's not really  
breathing fire.

They look over at him. He indicates the monitor.

AARON  
See...the flame starts a couple of  
meters from Godzilla's mouth...

 

 

47.

 

The others join him, peer at the screen.

BENEDEK  
It looks like you're right. So?

AARON  
He's exhaling something so hot its  
actually ionizing the oxygen  
molecules...

JILL  
Again...So?

Aaron is distracted, an idea trying to break through.

AARON  
Given Godzilla's size and speed,  
the amount of energy he expends,  
he must have a very different  
metabolism from most large  
creatures. A body chemistry that  
would let him eat relatively  
little... and breathe superheated  
steam...  
(figures it out)  
Like a nuclear reactor. A  
biological fusion reactor.

JILL  
You've got to be kidding.

AARON  
No, that's it. I'll bet a year's  
royalties from my book that some  
of that wreckage is radioactive.

The Ops Officer looks up from her post, startled.

OPS OFFICER  
That's right. The rescue teams  
have reported higher-than-normal  
radiation counts.

Aaron smiles, nodding.

PIKE  
Well, that's just fascinating,  
Vaught.

Aaron's satisfied smile disappears.

AARON  
Listen--somehow, Godzilla was in  
that womb for a long time.  
Something must've functioned like  
control rods... 

And then the light goes on Jill's eyes.

 

 

48.

 

JILL  
The fluid.

AARON  
(gets her meaning)  
Yes...

BENEDEK  
What?

JILL  
We always assumed the fluid was  
used for life support. But what  
if it's not? What if it's  
actually...  
(searches for a term)

AARON  
An atomic tranquilizer.

JILL  
Well, that makes it sound a little  
silly...but, yeah.

AARON  
There were barrels of that stuff  
on the transport with us...

JILL  
Yes...

AARON  
If we can administer it--

JILL  
Maybe even overdose him--

AARON  
How do we administer it?

They've left the others in the room in the dust.

JILL  
It's got to be transdermal...he  
must have absorbed it directly  
through his skin...

AARON  
Wait a second. Who's guessing  
now? He was floating in that  
stuff...Maybe he has to breath it  
for it to be effective--

JILL  
(shakes her head)  
Transdermal. I'll bet you that  
year's royalties double or  
nothing.

 

 

49.

 

BENEDEK  
One problem, people. The delivery  
system. Are you going to be out  
there with a hose when Godzilla  
comes swimming into the Bay?

Jill gets a faraway look in her eye.

JILL  
If it comes to that...

 

EXT. PACIFIC OCEAN - UNDERWATER - DAY

There is an above surface SPLASH--then something is falling past  
us in a trail of bubbles. It slows. Stops.

A depth charge. One of a line, extending across an underwater  
channel. Closing it off. WE SURFACE--

 

EXT. PACIFIC OCEAN - DAY

Medfly spraying helicopters skim above the water. Behind them,  
the Golden Gate Bridge spans the mouth of the bay. It is jammed  
with abandoned cars and trucks.

 

EXT. GOLDEN GATE BRIDGE - DAY

A truck towing an artillery cannon shoves its way through parked  
cars, moving the cannon into place. Aaron watches the soldiers  
prepare it.

 

INT. FORT POINT - COMMAND CENTER - DAY

ON A TV SCREEN: the Golden Gate Bridge, artillery in place, now  
backdrop to a remote stand-up news report.

REPORTER  
(filtered)  
The reasons for all the activity  
are still unknown. There's  
speculation that a nuclear powered  
sub has become disabled in the  
Bay. But again--that's just  
rumor...

Jill and Benedek watch the report. The Reporter is replaced by  
video of people being evacuated by National Guardsmen.

REPORTER (O.S.)  
(filtered)  
Communities surrounding the Golden  
Gate Bridge and the Bay have been  
ordered evacuated...

 

 

50.

 

OPS OFFICER  
They've spotted him! 

She taps some buttons. On the main screen, a satellite image  
appears: San Francisco Bay, the Golden Gate Bridge...and  
Godzilla, heading for it.

BENEDEK  
Start spraying.

 

EXT. PACIFIC OCEAN - DAY

The helicopters begin spraying, coating the water with RED-BLACK  
AMNIOTIC FLUID.

 

INT. FORT POINT - COMMAND CENTER - DAY

Pike watches the monitor. Cracks his neck.

PIKE  
C'mon, you bastard...where are the  
depth charges? He should be  
hitting them...

 

EXT. PACIFIC OCEAN - DAY

The water ERUPTS as a charge goes off.  
Then another. Another. A chain of explosions, nearing the  
bridge.

 

INT. FORT POINT - COMMAND CENTER - DAY

PIKE  
That's better.

Jill speaks into a mic.

JILL  
Aaron, you ought to get out of  
there.

 

EXT. GOLDEN GATE BRIDGE - DAY

AARON  
(into radio)  
On my way.

But he pauses--past the spraying helicopters, he can see the  
explosions from the depth charges. Godzilla is coming.

JILL  
(filtered)  
Any more inspirational words?

 

 

51.

 

AARON  
(thinks)  
'It is not strength that always  
wins/For wit doth strength excel.'  
From the Ballad of the Dragon of  
Wantley.

 

INT. FORT POINT - COMMAND CENTER - DAY

Jill and Benedek exchange a glance.

JILL  
Not bad...

OPS OFFICER  
The depth charges are driving him  
to the surface!

 

EXT. PACIFIC OCEAN - DAY

More charges detonate in sequence, nearing the area the  
helicopters are spraying. 

Godzilla breaks the surfaces with a ROAR.

 

INT. SPRAYING HELICOPTER - DAY

PILOT  
Oh, man. No way.

He banks his helicopter. Godzilla is almost directly beneath  
him. The pilot pulls a lever--

 

EXT. PACIFIC OCEAN - DAY

The entire contents of the helicopters tanks dumps onto  
Godzilla, a torrent of fluid. Godzilla roars and dives.

Charges EXPLODE. The other spraying helicopters keep up the  
onslaught, chasing the string of explosions.

Godzilla resurfaces...right in the red-black amniotic fluid  
slick. It coats him as he swims through it.

 

EXT. GOLDEN GATE BRIDGE - DAY

An ARTILLERY SOLDIER listens to a radio.

ARTILLERY SOLDIER  
We've got the fire order. We've  
got to keep it in the fluid as  
long as possible. 

 

 

52.

 

AARON  
Let's hope it doesn't just piss  
him off.

The Artillery Soldier gives him a glance, turns to his job.

 

EXT. PACIFIC OCEAN - DAY

Bright orange FLASHES as the artillery guns on the bridge open  
fire--

EXPLOSIONS as the shells hit. Godzilla pulls back, into the  
center of the fluid. He slows. And CRIES OUT...a different  
sound than his roar. Sickly. In pain.

 

EXT. GOLDEN GATE BRIDGE - DAY

Aaron frowns. He's still rooted to the spot.

 

EXT. PACIFIC OCEAN - DAY

Godzilla growls like a cornered animal. Then dives.

 

INT. FORT POINT - COMMAND CENTER - DAY

Lit by the glow of the monitors.

PIKE  
What happened?

Jill and Benedek exchange a glance...neither ventures a guess.

 

EXT. GOLDEN GATE BRIDGE - DAY

Aaron searches the ocean. No sign of Godzilla.

 

EXT. PACIFIC OCEAN - DAY

The water is still...the Bridge eerily empty of movement.

Suddenly GODZILLA ERUPTS FROM THE WATER--

 

INT. FORT POINT - COMMAND CENTER - DAY

Godzilla clings to the center support of the bridge, visible  
through the window.

JILL  
Damn.

 

 

53.

 

EXT. GOLDEN GATE BRIDGE - DAY

Aaron stares in shock.

GODZILLA'S HEAD RISES OVER THE EDGE OF THE BRIDGE--almost  
staring at Aaron eye-to-eye. Aaron takes a step back. The  
artillery crew start running.

 

INT. FORT POINT - COMMAND CENTER - DAY

JILL  
(into radio)  
Aaron--you idiot! Get out of  
there! 

 

EXT. GOLDEN GATE BRIDGE - DAY

Godzilla bites through several cables. They twang loudly as  
they snap, and the bridge is wrenched. Aaron starts running,  
the footing no longer secure, trying to make it past suddenly  
moving cars.

 

EXT. GOLDEN GATE BRIDGE - FORT POINT - DAY

Jill runs out of the building. She can see Godzilla starting to  
climb the central pylon. The bridge is jarred. A car falls  
from it, into the bay.

 

EXT. GOLDEN GATE BRIDGE - DAY

The bridge groans under Godzilla's weight. Godzilla shoves  
himself through the cabling, onto the bridge. Artillery guns  
fire. Godzilla cries out, sickly.

Aaron runs, but the terrain is treacherous. The bridge swings  
dangerously under Godzilla's weight. Cars fall from it into the  
bay.

Godzilla uses a cable to pull himself to full height. He ROARS--

\--and then collapses, falling forward, full onto the bridge--

Cables groan--snap. Aaron grabs for a handhold--he swings, is  
thrown like a rag doll, hangs on. The Bridge contorts, sways...

But it holds.

It is a bizarre, surrealistic image: Godzilla, one arm hanging  
down, lying still on the Golden Gate Bridge.

ON THE BRIDGE: Aaron continues to clutch his handhold. His  
radio crackles.

 

 

54.

 

JILL  
(filtered)  
Aaron--Aaron, are you all right?

Aaron fumbles for his radio, finds it.

AARON  
What a great bridge.

Godzilla lies before him, vanquished.

 

INT. CHURCH - TRAVELLER, UTAH - MORNING

Well-attended with townsfolk. The Waitress from the diner sits  
in the front pew. Colored light from a huge stained glass  
window backlights the REVEREND. Gray hair, very distinguished,  
very fire-and-brimstone--and really wailing:

REVEREND  
'His breath kindleth coals, and a  
flame goeth out of his mouth. He  
maketh the deep to boil. When he  
raiseth himself up the mighty are  
afraid. The sword of him that  
layeth at him cannot hold'--

The two ranch hands--John and Stu, last seen in the rain of  
frogs--sit in a pew in the back. They look out of place, but  
both listen raptly as the Reverend continues. Unconsciously,  
Stu shakes a cigarette out of a pack, puts it in his mouth--

JOHN  
(a hiss)  
You can't smoke in here!

Stu looks abashed. They speak in whispers.

STU  
Been awhile since I seen the  
insides of a church.

JOHN  
Yeah, well, I figure better safe  
than sorry.

REVEREND  
That is the description of the  
Leviathan, as given to us in Job  
41...

Stu is stricken by a COUGHING ATTACK, a wet smoker's hack. The  
Reverend notices. John, embarrassed, edges away from Stu.

 

 

55.

 

REVEREND  
I see some new faces today.  
Welcome. In times of trouble, the  
House of the Lord is indeed a  
refuge.

Stu, trying to stifle himself, rises from the pew. John shakes  
his head in disgust.

JOHN  
Those things are gonna kill you  
someday.

 

EXT. CHURCH - TRAVELLER, UTAH - MORNING

Stu exits, still COUGHING. The church is a white-painted wood  
box, fairly secluded, tucked into a tree-covered hillside. 

The pickup truck is parked outside. Stu notices the BORDER  
COLLIE, whimpering, tied by a leash to the truck. The leash is  
taut as the Collie digs his legs, trying to get away.

STU  
What's the matter, boy?  
(looks up at the clear  
sky)  
Afraid of getting warts?

A mighty PULL, and the Collie's head slips out of its collar.  
It runs off. Stu curses, chases after it--

 

INT. CHURCH - TRAVELLER, UTAH - MORNING

REVEREND  
Now, why is the Lord telling Job  
this? The Lord is describing  
wonders that Job is incapable of  
understanding...

A sudden loud THUMP, as if something heavy has hit the roof.  
Eyes are raised as people scan the ceiling. The Reverend  
ignores it, preaching harder, trying to keep their attention:

REVEREND  
...so Job will realize divine  
omnipotence and repent...

Now there are ominous SCRABBLING SOUNDS, as if several heavy  
bugs are crawling across the roof. Nervous MURMURS in the  
congregation.

REVEREND  
(looking up)  
The Lord goes on to describe a  
second creature, the Behemoth--

 

 

56.

 

Several parishioners SHUSH the Reverend, to his surprise. The  
Waitress stands up, panic in her voice:

WAITRESS  
It's another plague--locusts, or  
hail. Just like the frogs--  
(she points)  
Look at the window...

The Reverend turns. Behind him, the stained-glass window has  
been DARKENED by a shadow. The shadow MOVES, shrinking,  
resolving for just a moment into the shape of a FLYING BAT--

\--and then the stained-glass window SHATTERS as the giant Probe-  
bat CRASHES through, colored fragments flying. 

SCREAMS in the church, and PANDEMONIUM. Above, sections of the  
roof are peeled away, and Probe-bats drop down--

John, in the back, is first to the doors. He pulls them open--

And is face-to-face with giant Probe-bat. It spreads its wings  
and SCREECHES. Other churchgoers, panicking, stampede out,  
pushing John into the creature's claws--

 

EXT. CHURCH - TRAVELLER, UTAH - MORNING

Stu drags the Collie by the scruff of its neck; it fights him  
every step of the way. Stu glances up--and gasps. He lets go  
of the Collie; it bolts away.

WHAT STU SEES: the church, crawling with the giant Probe-bats.  
One of them lifts off from the torn roof, carrying a body.  
Another sits on the Pickup truck, a dark sentry. It notices  
Stu, spreads its wings, lifts off--

Stu runs.

 

EXT. UTAH - WOODS - MORNING

Luck leads Stu into a stand of trees, cutting him off from the  
pursuing Probe-bat--

AERIAL VIEW - POV PROBE-BAT as STU races beneath the trees--

Stu stumbles, falls down an embankment. Rolls over and over,  
hits the bottom of the ravine. Spots a narrow overhang. Climbs  
into it--

Eyes wide, Stu waits, frozen, holding his breath, terrified.

A SCREECH comes, then a scrabbling sound. A Probe-bat has  
landed directly above the overhang. It hunts, scanning,  
listening...

Suddenly Stu COUGHS. A smoker's wet hack. 

 

 

57.

 

Stu slaps a hand over his mouth, stifling the cough, but he  
knows. He glances up--

The probe-bat stares down at him from the overhang, grinning.

 

EXT. UTAH - WOODS - MORNING

Stu's scream echoes through the woods, is suddenly cut off.

 

EXT. CHURCH - TRAVELLER, UTAH - DAY

A Jeep, driven by Nelson Fleer, comes to a stop on the road near  
the church. It is laden with gear: tents, prospecting tools,  
dive tanks. Fleer steps out, sees--

The Waitress stumbling toward him. Beyond her, the church roof  
is partly torn off. Wood and bodies are strewn. Fleer hurries  
to the Waitress; she collapses in his arms.

 

EXT. CHURCH - TRAVELLER, UTAH - DAY

Ambulance lights flash. Bodies are covered, carried away. The  
Sheriff has a map spread out on the hood of his cruiser.

SHERIFF  
Fleer! Over here.

Fleer squeezes the Waitress's hand, leaves her in the care of an  
ambulance medic. The Sheriff gestures to the map.

SHERIFF  
Right now we're assuming a  
tornado. I need you to round up  
the other guides, conduct a search  
in this area.  
(grim)  
The bodies have to come down  
somewhere.

Fleer nods back toward the Waitress.

FLEER  
Deborah's going on about some kind  
of giant bat--

SHERIFF  
(not surprised)  
Lots of debris swirlin' around a  
tornado. It's characteristic.  
Could've been stuff looked like  
flying goddamn elephants.

Fleer nods, moves away. The Sheriff turns, sadly takes in the  
scene: bodies, ambulances, ruined church. He sighs.

 

 

58.

 

SHERIFF  
(to himself)  
What hath God wrought?

And as if in answer, we CUT TO:

 

INT. BAT CAVERN - DAY

The Probe-bats swoop down into the cave, carrying bodies--some  
human, some animal. They move toward a TRANSLUCENT MASS at the  
center--it is huge, crowding the cavern. The Probe-bats are  
tiny flies buzzing around it.

Probe-bats land on the mass. The human and animal bodies  
DISSOLVE, ABSORBED into mass. Some of the Probe-bats merge as  
well. Part of the mass SHIFTS--a giant claw, opening and  
closing.

The larger picture falls into place, and we see the mass has a  
hunched, ominous ANIMAL SHAPE.

 

EXT. GOLDEN GATE BRIDGE - FORT POINT - DAY

Jill spots Benedek and Pike leaving the building. An argument  
in progress, Pike making his case.

PIKE  
\--and this is on your authority?

BENEDEK  
It's on the President's authority.

JILL  
What do they recommend?

Benedek can't meet her angry gaze.

PIKE  
It's a one-of-a-kind life form.  
They want to keep it alive.

JILL  
No. Goddammit, no! We kill it!  
That's our mission--

BENEDEK  
We can kill it later.

That is his last word. He strides away. Jill turns, stares at  
Godzilla on the bridge, her jaw tight.

PIKE  
Happens, I agree with you, Doctor.

 

 

59.

 

JILL  
(she turns away)  
Small comfort...

 

EXT. VARIOUS - MEDIA REPORTS - SERIES OF SHOTS

Hand-held VIDEO following Benedek as reporters shove mics into  
his face: 

BENEDEK  
...hearts go out to the families  
of the brave men and women lost in  
the battle with Godzilla...

NETWORK REPORTER  
'Godzilla'--is that with one 'l'  
or two?

SHOT of a Newscaster; a video square over his shoulder shows  
Aaron in a crowd, people shoving copies of his book at him.

NEWSCASTER  
\--London gold shot up over two  
hundred dollars an ounce,  
attributed to the appearance of  
the San Francisco monster--

SHOT of Jill, striding past reporters, mics jammed in her face.  
She holds her anger in check--barely.

JILL  
\--what do I think? I think they  
should transport it to the middle  
of the desert--

 

INT. FORT TUSCARORA - CAFETERIA - DAY

Tina carries a tray into a dining area. People are clustered  
around a television mounted on the wall, watching Jill speak.

JILL  
\--shove a nuclear bomb down its  
throat and blow it up.

The Reporter turns away from her.

REPORTER #1  
...that's Dr. Llewellyn, who has  
been credited with capturing the  
creature--which, we are told,  
first appeared in the Arctic sea--

Tina's eyes go wide. 

 

 

60.

 

REPORTER #1  
\--and may have been responsible  
for the loss of an expedition team  
there early last year...

Tina sits slowly, the tray in her lap.

ON SCREEN: Behind the Reporter, several Flying Crane helicopters  
buzz above the bridge--

 

EXT. GOLDEN GATE BRIDGE - DAY

\--the helicopters drop to above Godzilla. A fire truck sprays  
dark amniotic fluid onto Godzilla's skin. 

BACK TO VIDEO as a silver tank, the size of a railroad car, is  
lowered via helicopter onto the back of Godzilla's neck. 

REPORTER #2 (O.S.)  
...I am told is a device that  
administers the fluid, keeping the  
creature sedated, if you will...

The crew guide the device into place. Huge hydraulic clamps  
close, lock it onto Godzilla--

 

EXT. GOLDEN GATE BRIDGE - FORT POINT - DAY

On Jill; there is a ROAR from the crowd gathered at the south  
end of the bridge. Jill turns as the ROAR becomes a CHEER--

She watches as four Flying Crane helicopters strain at cables  
attached to Godzilla, LIFTING HIM INTO THE AIR above the bridge.  
The crowd cheers wildly--

BACK TO VIDEO - a LOCAL REPORTER, shirt untucked, does a hurried  
stand-up. A wobbly ZOOM to the horizon, where a tiny Godzilla  
moves past, suspended by cables from the helicopters--a bizarre  
Macy's New Year's Day Parade balloon.

LOCAL REPORTER  
...unconfirmed reports of gunfire  
near the Nevada border.  
Apparently some folk are taking  
pot shots at the creature-- 

SHOT of a LOCAL NEWSCASTER, a Godzilla-over-Utah graphic over  
his left shoulder.

LOCAL NEWSCASTER  
...has been instructed to route  
the creature away from all  
inhabited areas. The FAA--

 

 

61.

 

SHOT of a large crowd, partying, waving signs; a banner reads  
BOULDER WELCOMES GODZILLA. A REPORTER finishes her stand-up,  
two boys near her waiting to be interviewed.

REPORTER #3  
\--no word yet as to the creature's  
intended final destination.  
(turns to boys)  
Tell us, when you saw Godzilla,  
were you scared?

LITTLE BROTHER  
Aw...I wasn't scared.

NINE-YEAR-OLD  
(considers it)  
Scared it was going to poop on us!

The two crack up--

 

INT. HOSPITAL - INTENSIVE CARE WING - HALLWAY - NIGHT

FADE UP TITLE  
FORT TUSCARORA BASE HOSPITAL

Ed escorts Aaron, moving along briskly.

AARON  
How is he?

ED  
Not good. We've brought in  
specialists from John Hopkins.  
We're doing all we can, but... 

He stops at a doorway, pauses.

ED  
Be prepared. His appearance may  
be a shock. Don't dwell on it.

 

INT. HOSPITAL - INTENSIVE CARE ROOM - NIGHT

Aaron and Ed enter. Marty's figure is obscured by monitoring  
equipment. A SURGEON regards a FLUOROSCOPE SCREEN. The real-  
time video shows a full-body x-ray of Marty. His heart beating  
is a shadowy rhythmic blur.

ED  
(peers at the screen)  
Christ...he's changed further?

ON SCREEN: There is a large movement--a SHIFT--of an internal  
organ. Marty's liver? Whatever it is, it shouldn't be moving.

 

 

62.

 

SURGEON  
All of the large intestine is  
gone, along with the exocrine  
tissue of the pancreas. The  
material was used here, in  
restructuring the chest cavity--

He indicates a spidery dark structure in Marty's chest.

SURGEON  
Body functions necessary to  
immediate survival aren't  
affected. Everything else is fair  
game.

ED  
Impossible.

SURGEON  
Apparently not. The infection is  
re-scripting his DNA...and as it  
changes, he changes.

AARON  
Changes...into what?

The Surgeon shrugs. Aaron approaches the bed. He wears a not-  
very-convincing smile. He gets closer--and gasps.

Marty has no eyes.

His skull is elongated, his jaw shrunken. His ears have merged  
onto the sides of his head. His clavicle and shoulders have  
lifted, forming a protective collar around his neck.

But most disconcerting is the flat, featureless expanse of skin  
from forehead to mouth.

MARTY  
Who's there?

Marty's voice is groggy, weak. Aaron swallows.

AARON  
Marty, we got him. Godzilla.

MARTY  
Is he dead?

AARON  
No. He's...sick, but alive.

MARTY  
Like me.

AARON  
Actually, he looks a little better  
than you.

 

 

63.

 

Marty smiles. Aaron looks away.

MARTY  
Aaron...I've had dreams. About  
Godzilla.

Aaron forces himself to look back.

AARON  
Yeah?

MARTY  
I keep wondering...why now?  
(beat)  
Why show up now? What set the  
womb off? The interference...  
(beat)  
What is he trying to do?

Marty lifts up, turns, his eyeless face searching for Aaron.

MARTY  
You have to find out.

Aaron takes Marty's hand, grips it.

AARON  
I need to stay here--

Marty shakes his head.

MARTY  
No. Please. I can...feel what's  
happening to me.

Aaron looks at his friend, anguished.

AARON  
I can't--

MARTY  
You have to find out. You need to  
keep looking. I've been having  
dreams...  
(beat)  
Remember Emperor Kuei Ko?

Aaron frowns, remembering--then nods.

MARTY  
(drifting off)  
Find out. Keep looking...

Marty's features relax. His grip loosens, his breathing becomes  
regular. Ed appears behind Aaron, pulls him away.

Near the door Aaron stops. Sighs heavily. Gazes at Marty's  
sleeping form.

 

 

64.

 

AARON  
(barely audible)  
Good-bye, Marty.

Aaron looks at his friend one last time. Then turns away.

 

EXT. FORT TUSCARORA - HOLDING TANK BUILDING - DAY

Jill strides along the length of a huge structure. An Air Force  
ENGINEER falls in with her, tries to keep up.

ENGINEER  
(apologetic)  
I'm real sorry about the tail.

JILL  
Tail?

ENGINEER  
See, the information I had said  
the creature was two hundred and  
fifty feet tall. They didn't tell  
me about a tail. So there was no  
way for me to know--

JILL  
Know what?

ENGINEER  
Well, that it wouldn't fit--

They come to the corner of the structure. Jill pulls up short.  
Incongruously sticking out through the massive doors on one end  
is Godzilla's tail.

Workers string 'POLICE LINE - DO NOT CROSS' tape around it--

 

INT. ST. GEORGE PROJECT - HOLDING TANK - DAY

Jill enters, stares at--  
Godzilla, laying on his side, mostly submerged in the tank--  
An awesome sight. Close by is the too-long tail; in the  
distance, Godzilla's head lies above the water's surface.

TECHNICIANS scurry about a control center which monitors  
Godzilla's vital signs. 

TECHNICIAN  
(shouts)  
Power up the grid!

Jill watches darkly as switches are pulled, huge generators  
RUMBLE to life--

 

 

65.

 

Several huge metal grids lower from the ceiling, down to just  
above Godzilla. Electricity crackles across them. A loud CLANG  
echoes in the structure as it locks into place, trapping  
Godzilla in the tank.

Jill turns away, angry.

 

INT. ST. GEORGE PROJECT - SITUATION ROOM - DAY

Jill walks in. Beyond the glass wall, Godzilla slumbers. There  
is much busyness in the room. The main monitor map has been  
changed: it now shows Godzilla's projected route as a line  
across the United States. Jill scowls.

She spots Aaron, talking to Ed, who sits at a keyboard. She  
strides toward them.

ED  
Here's a match. Modesto,  
California. 'A pair of twenty-six  
year old twins met for the first  
time Friday, despite having lived  
their whole lives within a hundred  
mile radius-- '

AARON  
No. Keep looking

JILL  
What's going on here? Who  
authorized this?

Ed looks away sheepishly, a caught kid. Aaron is only a little  
less abashed.

AARON  
Um...I did.

JILL  
You did.

AARON  
I'm sorry if I overstepped my  
boundaries, but Marty said  
something that got me  
thinking...Do you know the myth of  
Kuei Ko?

Jill crosses her arms. Stares at him.

JILL  
You've co-opted my people and my  
department on the basis of one of  
your fractured fairy tales?

 

 

66.

 

AARON  
Listen, okay? Kuei Ko was a  
mighty ruler with a vast  
kingdom...You know, the usual.  
One night, a sparrow came to him  
in a dream. It told him one of  
his wives was pregnant.  
(he's warming to it)  
Except it wasn't his child. His  
wife would give birth to a  
monster...a monster with the power  
to destroy him...his kingdom...and  
the world.

ED  
(calling up from his  
keyboard)  
Wichita, Kansas. 'A hole-in-one  
is rare. Three consecutive aces  
on the same hole is almost  
impossible--'

AARON  
(shakes his head)  
Keep looking. So, anyway, Kuei Ko  
journeyed to the Land Without  
Light...to kill the monster before  
it could be born.

JILL  
That's a lovely story. What does  
it have to do with this?

AARON  
Did I mention that Kuei Ko was a  
dragon? What Marty meant, I  
think, was to find out where  
Godzilla was headed.

JILL  
What?

Aaron points up at the map.

AARON  
Godzilla was moving in a straight  
line--like he had a purpose. We  
just projected his route, and  
started looking along the line for  
reports of strange phenomenon and  
occurrences--

JILL  
You think he had a purpose? That  
there's some...reason for--

 

 

67.

 

AARON  
Why now? Why did Godzilla show up  
now? He might not be an isolated  
incident--

JILL  
You don't think we should kill  
him. Do you?  
(Aaron doesn't answer)  
Do you?

They stare at each other. Ed lets out a low whistle, drawing  
their attention.

ED  
Holy cow. Listen to this.  
Traveller, Utah. Three stories...  
'Additional cattle mutilations  
discovered,' uh, 'church destroyed  
in freak accident...'

Aaron leans forward.

ED  
'Strange lights reported in the  
sky over six counties...'

AARON  
That's it. Utah.  
(beat)  
I think if Godzilla does have a  
purpose...that's where we'll find  
it.  
(a little frightened)  
This guess, I wouldn't mind being  
wrong.

A beat, and then he exits. Jill turns to look through the glass  
at Godzilla.

JILL  
(to herself)  
Is it possible..?

Then she starts: she has spotted a familiar figure in a white  
smock: Tina, looking very small, staring up into the face of the  
monster.

 

INT. ST. GEORGE PROJECT - HOLDING TANK - DAY

We hear the distinctive beating of Godzilla's heart. Tina  
stares, transfixed. Jill grabs her shoulder. 

JILL  
Tina--how did you get in here?

 

 

68.

 

Tina indicates the clearance badges pinned to her white smock.  
But Jill is taken aback by the tears glistening on Tina's cheeks--  
and the resigned, serene set to her features. Tina nods toward  
Godzilla.

TINA  
This...this is what killed Dad.

JILL  
(beat)  
Yes.

TINA  
This is what you're job was...  
finding it.

JILL  
Yes. Killing it.

Tina looks at Jill.

TINA  
Why? What's the point?

Jill is surprised by the question. It should be obvious.

JILL  
Look at it! It's killed hundreds  
of people. It killed your father.  
Isn't that enough?

TINA  
My God, mom...You look at it!  
Look at its scale. I bet it  
didn't even notice dad!  
(dryly)  
Except as maybe a little wet spot  
on the bottom of its foot.

JILL  
Shut up! You don't know what  
you're talking about--

TINA  
Don't you say that. I know! You  
lost dad.  
(beat)  
I lost you both.

Jill turns away. Anger, remorse, grief, war on her face. She  
is close to tears. But an act of will puts a stop to it.

 

 

69.

 

JILL  
(tightly)  
You shouldn't be here. It's not  
safe. I spoke to Aunt Julia.  
She's out of town, but she said  
you could stay at her apartment.  
In New York.

Tina gapes at her. She reaches a hand toward Jill--drops it  
before contact is made.

TINA  
Fine. I'm gone.

She strides out, leaving Jill alone. Jill wipes at her eyes,  
brushing away any tears that may have begun. Back in control,  
she looks up at Godzilla.

In the water the monster shifts slightly, and a small, mournful  
sound escapes from his throat.

 

EXT. TRAVELLER, UTAH - DINER - DAY

Aaron steps out of his rental car, takes in the small town. He  
heads for the Diner--

\--and suddenly the Waitress appears in front of him.

WAITRESS  
God is merciful, but the day of  
his wrath is come. Who shall be  
able to stand?

AARON  
Uh, yeah...'Jesus wept.'

He hurries past her into--

 

INT. TRAVELLER, UTAH - DINER - DAY

Aaron sits at the counter near Fleer, picks up a menu. The  
Sheriff gives Aaron the once-over.

SHERIFF  
If you're a reporter or a gawker,  
we don't need you here.

A little apprehensive, Aaron hands over his I.D. badge. The  
Sheriff studies it.

AARON  
I'm, uh, with the government.  
(beat)  
So what's there to gawk at?

 

 

70.

 

FLEER  
Huh. You can take your pick.  
We've got cattle mutilations, our  
church's been tore up--

Suddenly the Waitress is there, close to Aaron's ear.

WAITRESS  
It's God's judgment. And the  
lights in the sky--that was his  
terrible swift sword.

Aaron turns toward her, encouraging her.

AARON  
There were lights in the sky.

WAITRESS  
(nods)  
Then came the frogs, that was our  
warning--  
(Aaron frowns)  
A plague of frogs. Like Moses  
visited upon the Pharaohs--

She looks around, heads for a stack of newspapers. The Sheriff  
hands Aaron back his I.D., sighs.

SHERIFF  
I'm sure getting tired of her  
saying 'visited upon.'

AARON  
Frogs..?

SHERIFF  
Yeah...well, it rained...frogs.

FLEER  
Weird shit.

WAITRESS  
See? They're the only ones  
willing to print it.

She thrusts a tabloid newspaper at Aaron. We get a brief  
glimpse of the cover: COP TIPS WAITRESS 2M$. Inside, a photo of  
John and Stu, holding buckets of frogs. Headline reads 'TOWN  
DESTROYED BY FROGS--Biblical Retribution?'

WAITRESS  
It's the end of the Millennium,  
and the Apocalypse is near. The  
wicked and just will do battle--

Aaron doesn't listen--he's thinking, figuring something out--

 

 

71.

 

AARON  
Is there a lake around here?  
(beat)  
Fairly isolated, not a lot of  
visitors...but nearby, say within  
ten, fifteen miles...

Fleer and the Sheriff look at each other.

FLEER  
Sounds like you're talking about  
Lake Apopka.

AARON  
Lake Apopka. How do I get there?

FLEER  
You don't...not in that car. No  
roads.

Aaron glances out the window. Spots Fleer's jeep, and Fleer's  
sign across the street.

AARON  
You're Nelson Fleer?  
(Fleer nods)  
Can I hire you? As a guide?

FLEER  
Hmm...Government man. You're  
those guys who pay five hundred  
bucks for a screwdriver, right?  
(grins, nods)  
We can work something out.

 

EXT. TRAVELLER, UTAH - DAY

Fleer's Jeep takes off, Aaron hanging on for dear life. The  
Sheriff shakes his head, watching as it leaves. 

SHERIFF  
Government man. Shit, what's next  
for this town?

WAITRESS  
Fire and brimstone and the wrath  
of God.

She crosses herself. The Sheriff scowls at her, worried.

 

INT. HOSPITAL - INTENSIVE CARE ROOM - DAY

At an x-ray screen, the Surgeon confers with Benedek.

 

 

72.

 

SURGEON  
The circulatory system is on the  
verge of collapse.  
(shakes his head)  
It simply may not be a viable life  
form--

BENEDEK  
What can you do?

They move back toward the bed, where an anesthesiologist and  
nurse prepare instruments.

SURGEON  
The immediate threat is liquid  
creating pressure on the brain  
stem. We have to drain it.

Benedek considers.

BENEDEK  
Do it.

A hand--more like a claw now--grabs Benedek's wrist.

MARTY/ALIEN  
|Wait.|

Benedek stares down at--

Marty--who is now more ALIEN than human.

He has eyes again--huge ebony orbs that seem to have erupted  
from beneath his skin. His head is disfigured--he is growing an  
exoskeleton. His nose is just two slits.

MARTY/ALIEN  
|There is a |reason|. Bring |  
|...Llewellyn.|

Marty's voice isn't his voice anymore--it HISSES from deep in  
his throat. Rhythm, inflection, tone are all different. 

Frightened, the Surgeon backs away; he knocks over the  
instrument tray. Instruments CLATTER to the floor--

 

INT. HOSPITAL - INTENSIVE CARE ROOM - DAY

Jill hurries in, moves to Benedek's side. Looks at Marty.

JILL  
Has he said anything else?

BENEDEK  
A few words. This is going to  
sound crazy, but...I don't know if  
it's him speaking...or it.

 

 

73.

 

JILL  
It?

BENEDEK  
The thing he's turning into-- 

JILL  
I need to talk to him.  
(corrects herself)  
It. Whatever.

Jill moves to the bed. Touches Marty's shoulder.

JILL  
Marty? Can you hear me?

Marty's huge new eyes focus on her. His face contorts. An  
incredible effort, an incredible strain, for one word:

MARTY/ALIEN  
|Danger...|

JILL  
What kind of danger?

Again, Marty's body contorts--  
Then, it's as if something just gives up. Marty's face relaxes.  
His expression is calm, serene. Suddenly:

MARTY  
(distorted, but normal  
inflection)  
Dr. Llewellyn...is that you?

JILL  
Yes. Uh...you can call me Jill.

MARTY  
It...doesn't know the words yet.  
So...I have to talk...

JILL  
Marty...does it...are you in pain?

MARTY  
...no. It's amazing, Jill. I see  
in infra-red now--I think.

The Surgeon checks the cardiograph monitor. Frowns.

SURGEON  
He's in a brachycardia state.  
(to Jill)  
He's weakening.

Jill takes Marty's hand/claw.

 

 

74.

 

JILL  
You--it--said the word 'danger.'

Mary pauses, as if listening. Then:

MARTY  
Aliens...spreading through the  
stars...Destroying worlds...

Stunned silence in the room.

BENEDEK  
There was a time...that would have  
sounded crazy.

JILL  
How, Marty?

MARTY  
Alien probe lands...on a  
world...creates a...beast out of  
the genetic material of that  
world. Designed to kill--

JILL  
(surprised)  
Godzilla is an alien--?

Marty's face and body contract. His voice is a low hiss:

MARTY/ALIEN  
|No. Not Godzilla. Another.|

BENEDEK  
(the worst possible  
news)  
Another?

JILL  
An alien creature?

Marty's features relax.

MARTY  
A doomsday beast...is created.  
It...reproduces. Destroys. Wipes  
out dominate life forms...  
(beat)  
Later, the aliens come. To a  
planet already...conquered...

Jill leans forward.

JILL  
One is coming here--that's the  
danger? When will it arrive?

EXTREME CLOSE UP, Marty's face, black eyes staring blankly:

 

 

75.

 

MARTY  
It's already here...

 

EXT. UTAH - ROUGH TERRAIN - DAY

Fleer's truck bounces up a steep rise, Aaron hanging on. 

FLEER  
So what are you thinking happened?

AARON  
I think the lights in the sky were  
caused by a meteor...It drops  
through the atmosphere. Friction  
superheats it to about a thousand  
degrees centigrade.  
(illustrates with hand  
gestures)  
It hits the water, and the water  
boils instantly. The steam  
evacuates up...cold air rushes in,  
forms a water spout, which sucks  
up everything around it--

FLEER  
\--and ten miles away, it rains  
frogs and fish--

They reach the top of the rise, pull to a stop. Look out--

WIDE SHOT - LAKE APOPKA. Or what is left of it. The epicenter  
of a huge explosive force. Trees snapped like twigs, bent  
backward out from the lake. Mud and dying moss surround it--the  
water level half what it should be.

Fleer stares, surveying the damage with awe. Aaron gazes  
speculatively at the lake.

AARON  
Can we go in there?

FLEER  
How's that?

AARON  
What I'm looking for might--must  
be in there.

Fleer smiles. Hops out of the Jeep. Grabs one of the tanks.

FLEER  
Underwater. Imagine that.  
There's a rate jump from  
wilderness guide to dive  
expedition leader.  
(grins)  
Big jump.

 

 

76.

 

INT. HOSPITAL - INTENSIVE CARE ROOM - DAY

Jill knows time may be short. She hurries her questions:

JILL  
Marty--this...creature you are  
becoming. Where did it come from?

MARTY  
Civilization...old...from the  
stars...gone now. Earth had three  
moons, then.  
(as if seeing it)  
Huh. Pretty.

JILL  
What was it called? Atlantis?  
Lemuria? Mu?

Suddenly the thing speaks through Marty:

MARTY/ALIEN  
|We needed words...needed to warn  
you... did not know what form life  
would take...|

Jill gets a look of understanding--even amazement.

SURGEON  
...so they created a virus that  
would reprogram DNA...and transfer  
RNA? Amazing.

BENEDEK  
They made one of theirs out of one  
of ours--

Marty's body spasms. On the cardiograph Marty's heart is a weak  
flutter. The Surgeon turns to Jill.

SURGEON  
Dr. Llewellyn--we're losing him--

Jill leans close to Marty.

JILL  
Marty--can you tell us--what is  
Godzilla?

MARTY/ALIEN  
|We left it in stasis...created  
from dinosaur genetic template.  
Alien probe would awaken it...|

JILL  
How do we kill it?

 

 

77.

 

MARTY/ALIEN  
|Godzilla will kill it. Before it  
...reproduces--|

JILL  
No--not the beast. How do we kill  
Godzilla?

MARTY/ALIEN  
(voice fading)  
|Can't...kill...Godzilla...|

Marty loses consciousness. The EKG stops BEEPing. Flatlines.

SURGEON  
Crash cart! Code blue!

Nurses, the Surgeon move in, try to resuscitate Marty. The  
monitor stays flatline.

Jill rises. Stands back, away from the flurry of activity  
around Marty...stunned by his final words.

MARTY (Cont'd)  
Earth had three moons, then.  
(as if seeing it)  
Huh. Pretty.

JILL  
What was it called? Atlantis?  
Lemuria? Mu?

Suddenly the thing speaks through Marty:

MARTY/ALIEN  
|We needed words...needed to warn  
you... did not know what form life  
would take...|

Jill gets a look of understanding--even amazement.

SURGEON  
...so they created a virus that  
would reprogram DNA...and transfer  
RNA? Amazing.

BENEDEK  
They made one of theirs out of one  
of ours--

Marty's body spasms. On the cardiograph Marty's heart is a weak  
flutter. The Surgeon turns to Jill.

SURGEON  
Dr. Llewellyn--we're losing him--

Jill leans close to Marty.

 

 

78.

 

JILL  
Marty--can you tell us--what is  
Godzilla?

MARTY/ALIEN  
|We left it in stasis...created  
from dinosaur genetic template.  
Alien probe would awaken it...|

JILL  
How do we kill it?

MARTY/ALIEN  
|Godzilla will kill it. Before it  
...reproduces--|

JILL  
No--not the beast. How do we kill  
Godzilla?

MARTY/ALIEN  
(voice fading)  
|Can't...kill...Godzilla...|

Marty loses consciousness. The EKG stops BEEPing. Flatlines.

SURGEON  
Crash cart! Code blue!

Nurses, the Surgeon move in, try to resuscitate Marty. The  
monitor stays flatline.

Jill rises. Stands back, away from the flurry of activity  
around Marty...stunned by his final words.

 

EXT. UTAH - LAKE APOPKA - DAY

Fleer and Aaron, in the water, adjust their diving equipment.  
Fleer watches Aaron, measuring him.

FLEER  
So. Done much diving?

AARON  
Some. At Club Med once--

FLEER  
Well, this is nothing like that.  
In cave diving, you're going into  
absolute pitch dark. There're  
weird currents and sharp rocks--

Aaron nods. Fleer clips safety line, flashlight, slate and  
pencil onto his belt.

 

 

79.

 

FLEER  
Just try not to panic. You don't  
want to be like the kid who sucked  
his mouthpiece into his throat  
trying to get the last cubic  
centimeter of air--

They back their way into the water.

AARON  
If cave-diving is so dangerous,  
why do you do it?

Fleer sets his dive watch, fits his mask.

FLEER  
Better than the ocean. There you  
got eels, squid, jellyfish...  
(he shudders)  
Too much weird shit.

He sinks down backwards into the water. Aaron follows--

 

EXT. LAKE APOPKA - UNDERWATER - DAY

Fleer and Aaron swim through flickering shafts of sunlight.  
Discharged air bubbles glitter, swirl toward the surface.

The CAVE OPENING looms ahead. They follow their flashlight  
beams into darkness. Fleer, in the lead, spots something--

Ahead the cave narrows to a tight bottleneck. Fleer pulls out a  
packet of red dye, breaks it. The bright-colored dye moves  
steadily away from the opening, indicating a current.

Fleer gives Aaron a 'thumbs up' sign. He ties his safety line  
to a rock outcropping...then removes his tank. Aaron looks at  
him incredulously.

Still breathing through the regulator, Fleer shoves his tank  
through the bottleneck. He then squirms through after it--

Aaron can't believe it. Slowly he removes his own tank. Pushes  
it through ahead of him, following Fleer.

 

INT. CAVE SYSTEM - UNDERWATER - DAY

P.O.V., AARON, through his dive mask, the narrow angle  
increasing the sense of claustrophobia. We hear his BREATHING,  
slow and steady, as he moves past limestone walls.

The walls give way; Aaron and Fleer emerge into open water.  
Fleer glances up. Sees the surface above. Grins, motions to  
Aaron. Swims upward--

 

 

80.

 

\--suddenly, shockingly, coming straight at him, BRIGHT in the  
light of his flashlight is the MOUNTAIN LION.

Fleer freaks out. Flails his arms, legs, trying to get away--

The Mountain Lion APPROACHES, fangs bared in a perpetual  
snarl...then floats serenely past, suspended in the water, moved  
by the current. 

It spins, caught in an eddy. We see it's pretty well torn up.  
A paw and some of its torso are still connected to the head, but  
most of the body is gone.

Fleer recovers. Calms himself. Aaron taps him on the shoulder.  
Fleer holds up his hand--he's okay. He scribbles on his slate,  
holds it up to Aaron. It says 'RATE DOUBLED.'

 

INT. CAVE SYSTEM - BAT CAVERN - DAY

Aaron breaks the surface of the underground lake. Fleer is  
already climbing out of the water. He yanks off his mask.

FLEER  
God damn what was that doing  
there? I don't need that shit in  
my life...

He squirms out of his tank. Aaron climbs out of the water.

FLEER  
(still pissed off)  
And what's that smell?

Aaron examines the limestone cavern. Most is obscured by  
darkness. In one corner, a waterfall splashes down. Aaron  
spots something, moves toward it--

AARON  
Over here.

It is the mutilated remains of a cow. Aaron crouches next to  
it. Fleer stares--now he's seen it all.

FLEER  
A cow. 

AARON  
Odd--there's not just physical  
damage. Looks like chemical  
deterioration as well.

A sudden, disorienting shift to--  
P.O.V., LOOKING DOWN at Aaron and Fleer, from out of a crevice.  
Watching them--

 

 

81.

 

FLEER  
Something must've dragged it in  
here. The mountain lion?

The thing above them SHIFTS...then leaps forward, swooping down  
toward them--

AARON  
Maybe whatever got the mountain  
lion--

Fleer jumps. SWOOPING past are several small, dark shapes--  
bats. Just normal-sized bats, providing a false scare. Fleer  
waves at them, cursing, shooing them away.

Aaron ignores the bats, glances around the chamber.  
Spots something. Frowns. 

AARON  
My God...

FLEER  
What?

He looks toward where Aaron is looking. Thirty feet away is  
what seems to be a unique rock formation--a GIANT CLAW, as big  
as a house.

Aaron climbs a boulder to get a better view, reaches the top.  
Fleer follows. Beyond them we see the claw is part of a huge  
forearm, which is part of a massive HUNCHED ANIMAL SHAPE,  
filling the cavern--

THE GRYPHON

Huge. Magnificent. Horrible.

A nightmare waiting to be born. 

Leathery, blood-red wings like a bat. The body of a mountain  
lion. It resembles the mythical Gryphon, as in Junji's  
drawings.

This is what the huge bat-probe creatures created by merging;  
none are left to be seen. Aaron and Fleer are ants before it.

AARON  
(awed)  
...the Behemoth...

Aaron takes an emergency flare from Fleer's belt, lights it.  
BRIGHT LIGHT fills the cavern, chasing the shadows--

Smoke drifts up from the flare. High above, the Gryphon's nose  
twitches. It scowls, eyes still closed--

 

 

82.

 

Aaron holds the flare high. They turn slightly as they look up,  
taking the creature in. Behind them, they do not see as the  
giant claw CLUTCHES.

FLEER  
It's not alive--nothing that big  
could be alive...  
(beat)  
It goes all the way to the ceiling--

AARON  
That's not a ceiling. Those are  
wings.

The turn back toward the huge claw--as it CLUTCHES again--

FLEER  
Shit! It's alive--

Fleer grabs the flare from Aaron, drops it, STOMPS on it. It  
still burns. Cursing, he STOMPS some more, extinguishing it-- 

Too late. The giant monster shifts...MOVES. Walls of the  
cavern split; huge chunks of rocks fall--

Aaron and Fleer scramble back toward the lake, grab up their  
gear. The Gryphon lets out a bone-jarring SCREAM--

Fleer looks over his shoulder, sees inside its mouth--

FLEER  
Oh, God. It's got snakes. Snakes  
for a tongue--

And it does. Many snakes, a hydra-headed thing, squirming where  
the tongue should be. It's eyes glow yellow in the darkness,  
reflecting light like a cat's eyes.

Fleer and Aaron leap into the pool--

 

INT. CAVE SYSTEM - UNDERWATER - DAY

Aaron and Fleer plunge in. A SNAKE HEAD darts into the water,  
snapping blindly. Aaron twists away, avoids getting bitten in  
half. The Snake-head withdraws-- 

Fleer finds the safety line. They pull themselves along. We  
hear the SOUND of BREATHING, loud and fast, through their  
regulators--

They reach the bottleneck. Muffled ROARS of the Gryphon can be  
heard. Fleer and Aaron snake out of their tanks--

In the cave, one of the Gryphon's claws SLAMS down into the  
underground lake.

 

 

83.

 

Water SURGES; Fleer slams into the rock wall, loses hold of his  
regulator. He swims into the bottleneck--

Aaron takes a last breath from his regulator. Lets go of his  
equipment. Follows Fleer, through the narrow opening--

 

EXT. LAKE APOPKA - UNDERWATER - DAY

Fleer shoots through the circular opening, followed by Aaron.  
They swim for the daylight--

 

EXT. UTAH - LAKE APOPKA - DAY

Fleer and Aaron break the surface, gasping for air. 

Suddenly, the earth TREMBLES--then SHAKES. Beyond a rise,  
concessive force blasts dirt and boulders into the sky.

Aaron and Fleer swim, stagger up onto shore. Beyond them, the  
Gryphon stands, rises to its full height above the trees.  
The nightmare has been born.

It shakes off rocks and debris. Its skin is smooth and slick.  
It blinks in the sun. Screams its ear-splitting SCREAM--

 

INT. ST. GEORGE PROJECT - HOLDING TANK - DAY

\--the SCREAM echoes, fades. Soldiers and technicians go about  
their tasks. A few yards from Godzilla's jaws, A FOREMAN and  
SURVEYOR use ultrasound equipment to scan Godzilla.

On a small table, a Styrofoam cup blows over, spills. The  
Surveyor notices, looks at the Foreman accusingly.

SURVEYOR  
Hey. Thanks for spilling my  
coffee.

FOREMAN  
Huh? Not me.

They do not notice as flat lines on their monitor are  
interrupted with tiny spikes--

SURVEYOR  
(points at the cup)  
Yeah you did. Look.

They look at cup--just as it leaps completely off the table.  
They look at each other, puzzled.  
A beat, then the entire table overturns in a blast of wind.  
The two look toward Godzilla's jaws--

SURVEYOR  
Ohshit--it's awake--

 

 

84.

 

FOREMAN  
(backing away)  
Okay. Um...let's give it some  
room--

A low GROWL from deep in Godzilla's throat. Technicians  
immediately drop their equipment, run--

Godzilla twists, turns...water SLOSHES over from the tank,  
knocking a fleeing soldier off his feet.

Godzilla rises up--  
HUGE SPARKS, BOLTS OF ELECTRICITY SHOOT ACROSS him as he makes  
contact with the metal grid above. Godzilla falls back,  
trapped. There is an anguished, angry ROAR--

 

EXT. UTAH - NEAR LAKE APOPKA - DAY

Fleer and Aaron crouch behind a tree. They break cover, flee  
uphill toward Fleer's Jeep.

Looming over the lake, the Gryphon opens its wings and SCREAMS,  
snake-tongue writhing. Energy builds up along its wings, SHOOTS  
OUT, a deadly ENERGY BOLT--

\--a tree near the Jeep EXPLODES as Aaron and Fleer dive in--

 

EXT. UTAH - DAY

The Jeep bounces along, Aaron driving. Fleer looks back--

THE GRYPHON RISES UP INTO THE SKY, its giant leathern wings  
spread wide, blotting out the sun--

FLEER  
Shit. It can fly--

AARON  
Hang on.

Aaron swerves the Jeep hard onto a two-lane road, nearly rolls  
it. In the distance is a railroad overpass.

GRYPHON'S P.O.V., above the Jeep, gaining on it. The Jeep  
disappears under the overpass. Appears on the other side.  
ENERGY BOLTS shoot out--

\--and the Jeep EXPLODES spectacularly.

 

EXT. UTAH - BENEATH THE OVERPASS - DAY

In the dark shade of the overpass. Aaron gets to his feet,  
dusts himself off. Fleer sits there, staring at his ruined,  
burning Jeep, and the Gryphon, swooping off into the sky.

 

 

85.

 

AARON  
Let me guess--you just finished  
paying it off.

 

EXT. TRAVELLER, UTAH - GAS STATION - DAY

A balding TOURIST, his family in a station wagon, does that  
funny little dance you do trying to get the gas hose untangled.  
He succeeds only in making it more twisted.

In his struggles he does not notice the surrealistic sight  
behind him: in the distance, coming over a rise in the road is  
THE GRYPHON, down on all fours, stalking toward town, slinking  
along like a cat.

In the station wagon, a TOURIST KID notices the creature. His  
eyes widen. He hurriedly searches for something inside a  
bag...rummages desperately, finally pulls out--

\--a video camera. He switches it on, aims it at the Gryphon--

Just as the Gryphon POUNCES onto a roadside bait shop, SMASHING  
it. The Tourist turns, sees the creature. Drops the gas hose,  
dives into the station wagon. The Gryphon SCREAMS--

 

EXT. TRAVELLER, UTAH - CAFE - DAY

The Waitress, in front of the cafe, freezes at the sound of the  
scream. The Sheriff exits the cafe, stops, staring past her, a  
look of horror on his face. She turns slowly to see--

The Gryphon, rising to full height over the town, the Tourist's  
station wagon fleeing before it. A panel truck going the other  
way slams on its breaks. The Gryphon paws at it--the truck is  
hit with such force it stands up, spins on one corner of the  
chassis.

The Sheriff rushes past the Waitress.

SHERIFF  
In the truck--hurry!

But the Waitress doesn't move.

At the other end of town, the Gryphon glances around, spots  
something--

The above-ground gas storage tank near the gas station. Next to  
it is a large propane tank.

The Gryphon crouches. ENERGY BEAMS SHOOT OUT, and the tanks  
EXPLODE-- 

SHERIFF  
(to Waitress)  
Come on!

 

 

86.

 

But the Waitress chooses to run, down the center of the street.  
The Sheriff dives into the cab--

The Gryphon beats its wings, FANNING the fire. A WAVE OF  
FLAMING GASOLINE rolls across Traveller--

The Waitress is engulfed in flames. She continues to run a few  
steps, burning, then falls to the ground.

Satisfied, the Gryphon takes to the air, leaving the ruins of  
the town behind--

DISSOLVE TO:

 

EXT. TRAVELLER, UTAH - DAY - LATER

Ruined. Destroyed. Aaron and Fleer hurry up the road...slow as  
they survey the devastation. Fleer is near tears.

Aaron approaches the dazed Sheriff, sitting on the burned porch  
of the cafe.

AARON  
Is it still alive? Where did it  
go?

SHERIFF  
It's gone...it took off.  
(points)  
That way.

AARON  
East? Shit. I need your truck.

The Sheriff nods. Aaron moves toward the truck. To Fleer:

AARON  
C'mon. There's a jet waiting.  
I've got to get back to the  
Project.  
(to Fleer)  
You coming?

Fleer is incredulous.

FLEER  
You're going up in the air? With  
that thing?

AARON  
You want to take your chances on  
the ground?

Fleer glances around at the ruined town--

 

 

87.

 

INT. ST. GEORGE PROJECT - SITUATION ROOM - DAY

Pandemonium. Jill, Benedek present. Godzilla's ROARS can be  
heard. Ed rushes in from the holding tank.

ED  
(to Jill)  
The fluid isn't working. It's  
just the grid holding him--

To one side, a TECHIE monitors channels. A SPECIAL BULLETIN  
flashes on. The Comm Officer stares. Turns to Jill:

TECHIE  
Doctor, I've got a broadcast here,  
local news--

ON SCREEN: the shaky, hand-held image of the Gryphon, shot by  
the Tourist Kid through back window of the station wagon.

TECHIE  
Doctor, it seems to be another  
creature.

BENEDEK  
What?

All eyes turn to the screen. CAMERA bounces wildly, settles on  
the Gryphon as it fires; the gas tank EXPLODES. Horribly, we  
are to re-witness the scenes of Traveller's destruction.

The Gryphon fans the flames, and we see the Waitress burn, drop  
to the ground.

BENEDEK  
Jesus--

TECHIE  
Aaron Vaught is reporting in--

Jill gestures to hear it on the main speaker. The jet's  
turbines can be heard; they are in-flight.

AARON (O.S.)  
(filtered)  
\--creature has wings like a bat.  
The body of a lion, like the  
mythical Gryphon...It can fire  
what seem to be electric bolts--

FLEER (O.S.)  
(filtered)  
Like a goddamn eel...

JILL  
Aaron, Jill here. Where is it  
headed?

 

 

88.

 

INT. JET - COCKPIT - IN FLIGHT - DAY

Aaron sits in the co-pilot's seat. Through his window, in the  
distance, is the Gryphon. Aaron watches it as the jet  
overtakes, passes it.

AARON  
It's headed east. Jill, I think  
it's coming toward you. I think--

 

INT. ST. GEORGE PROJECT - SITUATION ROOM - DAY

Everyone knows what this means.

AARON (O.S.)  
(filtered)  
\--it's coming to kill Godzilla.

As if in answer, Godzilla ROARS, vibrating the entire structure--

 

EXT. FORT TUSCARORA - HOLDING TANK STRUCTURE - DAY

Godzilla's huge tail whips back and forth, dangerously near the  
base power station.

With the next whip, Godzilla's tail hits the station. There is  
a SHOWER of SPARKS--  
\--and then the power station EXPLODES--

 

INT. ST. GEORGE PROJECT - SITUATION ROOM - DAY

ALARMS sound loudly. The lights go out--only the monitors stay  
lit. Emergency lights come on.

ED  
Uh-oh.

 

INT. ST. GEORGE PROJECT - HOLDING TANK - DAY

Godzilla ROARS--

 

EXT. FORT TUSCARORA - HOLDING TANK STRUCTURE - DAY

With a THUNDERING, RIPPING SOUND, Godzilla RISES, crashing  
straight up through the roof of the structure. Part of the roof  
dangles on Godzilla like a hat--it looks kind of dumb. Almost  
angrily, Godzilla knocks it away--

 

 

89.

 

A SOLDIER flees Godzilla. He zigs, zags--  
\--as the shadow of the roof segment gets larger--

\--then lands right on top of him. A beat, then we see the  
soldier, unhurt, climbing out though an upper window of the  
roof. He darts away just as it gets stepped on--

Jill steps out of the building. People flee past her as she  
stands, staring at Godzilla.

Tanks on the periphery of the airfield FIRE at Godzilla, with  
little effect. Godzilla turns, scanning the horizon. He stops,  
seems to look directly at Jill. Is he aware of her, or staring  
in her direction simply by chance? We don't know.

Jill stares back at the monster.

The moment is broken by the distant SOUND of a boat horn.  
Godzilla abruptly turns in the direction of the sound--

 

EXT. BUZZARD'S BAY - SHORELINE - DAY

Godzilla approaches, drops down onto all fours. He slips into  
the water. He sinks, and is gone.

 

EXT. MISSISSIPPI RIVER - DAY

A small passenger plane flies above the river. Marshland on  
either side.

 

INT. PASSENGER PLANE - DAY

A VACATIONER snaps photos out the window.

PILOT  
As the central river artery of the  
United States, the Mississippi is  
one of the busiest commercial  
waterways in the world--

VACATIONER  
Hey. Cool statue.

The Pilot pauses. Frowns.

PILOT  
There's no statue on this tour.

 

EXT. MISSISSIPPI RIVER - DAY

The plane is buzzing over--  
The GRYPHON. It takes to the air, flying up past the passenger  
plane. The plane is shaken by the turbulence caused by its  
massive wings.

 

 

90.

 

INT. PASSENGER PLANE - DAY

The plane is out of control. The Vacationer looks sick.

VACATIONER  
Next time, I just stay home. No  
more traveling, no more--

The Pilot fights the controls as the plane dives.

 

INT. ST. GEORGE PROJECT - SITUATION ROOM - DAY

ED  
(calling out)  
Godzilla's been sighted. Moving  
slowly down Long Island Sound,  
south of Bridgeport.

The room is crowded, bustling. Jill and Benedek look up.

JILL  
Given their relative speed--where  
will they meet? 

ED  
We're calculating it now.

On the main monitor is a map. Two electronic lines are drawn on  
it, one projecting Godzilla's path and extending it...  
The other projects the Gryphon's path, extends it...

Aaron bursts into the situation room. Fleer follows.

AARON  
What happened out there?

JILL  
(simply)  
He left.

AARON  
We just got in the way.  
Godzilla's...instinctually  
programmed--to find that thing--

ON THE MONITOR: The lines are drawing closer

JILL  
And kill it. Before it can  
multiply. Marty told us before  
he...  
(beat)  
Aaron...he died.

Aaron knew it was coming, but it's still a shock.  
Jill reaches out to him--hesitates, then takes his hand. He  
looks up at her, nods, smiles sadly.

 

 

91.

 

ON THE MONITOR: The two lines intersect at...

ED  
Oh, shit.  
(a little awed)  
Manhattan.

Jill freezes, goes pale. It hits her that Tina is in danger.

BENEDEK  
Do we even try to evacuate? It  
might kill more people than it  
saves--

FLEER  
You got to tell 'em. Give them a  
chance--

AARON  
(nodding)  
We can't just abandon people--

BENEDEK  
What do you think, Dr. Llewellyn?

Jill hasn't been listening, lost in her own thoughts. She moves  
to a phone. Quickly punches a number.

BENEDEK  
Dr. Llewellyn?

We hear the BUSY SIGNAL. The call did not go through.  
Jill drops the phone. Heads for the door.

BENEDEK  
What are you doing?

JILL  
Tina is in New York.

BENEDEK  
You can't leave now--

JILL  
Tina is more important.  
(beat; her advice:)  
We can't just abandon people.

And with that she is out the door. Benedek, Aaron and Fleer  
watch her go. A beat; then Benedek turns to Aaron.

BENEDEK  
As acting head of the St. George  
Project, what is your advice to  
the military?

 

 

92.

 

AARON  
Uh...evacuate New York City.  
Right?

 

INT. GREENWICH VILLAGE - APARTMENT - DAY

Tina, scared, bangs futility on the buttons of the phone. An  
'All circuits busy' message plays in her ear. The television is  
on, tuned to CNN, showing the Utah footage of the Gryphon.

CNN ANCHOR (O.S.)  
Once again, we'll show you  
dramatic footage of the Utah  
monster that now appears to be  
approaching New York City...

Again, we see flames, the burning waitress stumble and fall.  
Tina gives up on the phone, rushes for the door.

 

EXT. GREENWICH VILLAGE - APARTMENT BUILDING - DAY

Tina exits the foyer door, stops at the first step, shocked.

The street in front of her is PANDEMONIUM. Cars jam the street,  
horns HONKING. LOOTERS stream in and out of a corner grocery  
store. A trash can, contents in flames, is thrown onto the hood  
of a police car.

On the bottom steps of the stairs a DEVOUT WOMAN kneels, purse  
beside her, praying intently. A teenager snatches the purse,  
rummages through it. Nothing. He throws it at the woman. 

She doesn't seem to care. She looks at Tina, smiles. 

DEVOUT WOMAN  
(holds out her hands)  
Pray with me, darling. Pray for  
the rapture to take us.

Tina backs away, into the foyer. Slams the door shut.

 

EXT. MANHATTAN - SKY - DAY

A Huey helicopter, carrying Jill, flies over the East River,  
past the Brooklyn Bridge, crowded with evacuating people. The  
HUEY PILOT listens to his headphones.

HUEY PILOT  
Manhattan airspace just became  
restricted to essential only. 

JILL  
I've got clearance.

 

 

93.

 

HUEY PILOT  
I know...I'm just saying--

He chokes on his words. Jill follows his stare:  
The Gryphon moves lazily through the sky.

HUEY PILOT  
...it's real...

He veers the Huey away from Manhattan.

JILL  
What are you doing?

HUEY PILOT  
I just stopped being essential.

JILL  
Wrong. You're taking me into  
Manhattan. Turn this thing  
around.

The Huey Pilot gives her a hard stare--then banks the copter  
hard, makes a beeline straight for the Wall Street Heliport. He  
keeps the Huey hovering just above the ground.

HUEY PILOT  
Here we are. Manhattan.

JILL  
My daughter's in the village--

HUEY PILOT  
Then she's on her own.

The Huey Pilot starts to lift the copter. Jill pushes open the  
door, jumps out.

HUEY PILOT  
Have a nice walk.

And he's gone, heading the Huey back across the river. A matte  
black Apache Gunship cuts across the Huey's path, heading toward  
Governor's Island.

WE DROP DOWN from the helicopters to the East River. The  
skyline reflected in the water. Just south of the Brooklyn  
Bridge, something disturbs the stillness:

Half above the surface are GODZILLA'S EYES as he pushes through  
the river.

 

 

94.

 

EXT. GOVERNOR'S ISLAND - DAY

FADE UP TITLE:  
GOVERNOR'S ISLAND

Aaron, Fleer and Benedek are at the hastily constructed Command  
Post, near the water's edge. Phones, communication gear,  
monitors. Across the water is the Manhattan skyline, and  
Liberty Island. The Statue of Liberty prominent-- 

FLEER  
That thing is really pissing me  
off--

\--and we see it's not the Statue. The Gryphon has clawed up  
onto the pedestal. The Lady has fallen before it; she lies  
crushed and broken at its feet.

The black Apache GUNSHIP, bristling with weaponry, lands. Pike  
steps out, unintimidated by the whirring rotors. He nods to the  
crew--wearing all black, no military insignia. Pike heads for  
the command post.

PIKE  
Godzilla's in the East River,  
headed this way.  
(to Aaron)  
I don't want to hear any quotes.

 

EXT. EAST RIVER - DAY

Godzilla reaches the docks of the lower East Side and pulls  
himself ashore, blithely doing major property damage.

ON THE BROOKLYN BRIDGE: Godzilla is spotted. Cars, gridlocked  
by the evacuation, are abandoned as the people flee.

ON THE DOCKS: Godzilla ignores the people who run from him. He  
pauses, gets his bearings. Rips through the EL tracks. A train  
jumps the line. He moves through the canyon of buildings toward  
the Battery, at the tip of the island. 

 

EXT. SPORTING GOODS STORE - DAY

LOOTERS emerge from shattered windows, toss guns into the back  
of a van. One has an armful of automatic weapons.

LOOTER  
Look! Full auto! Guy had 'em  
locked in the back!

His cohort is about to reply--but his jaw drops. He stares at  
something behind the Looter--then turns and runs.

 

 

95.

 

The Looter turns. Godzilla towers above. Steps toward him.

LOOTER  
Holy...Get away! Get away!

He drops all but one rifle, starts FIRING up at Godzilla.  
Godzilla's eyes narrow. He takes another step--

The Looter is crushed beneath Godzilla's foot. Godzilla stomps  
a few more times for good measure. Turns--

Beyond Battery Park, across the water, is Liberty Island. And  
the Gryphon.

Godzilla ROARS--

The Gryphon's head whips around. It sees Godzilla.  
Godzilla stretches himself to full height, an obvious challenge.  
ROARS again.

The Gryphon SCREAMS. Spreads its wings. Takes to the air.

It rushes towards Godzilla--  
Godzilla waits--

THE TWO MONSTERS CRASH TOGETHER--

 

EXT. GOVERNOR'S ISLAND - DAY

The gathered watch as Godzilla is lifted bodily, rammed back.

FLEER  
That's gotta hurt--

 

EXT. MANHATTAN - DAY

Godzilla grabs the Gryphon's leg, pulls it down--

The Gryphon flaps furiously, pulling away--

Godzilla wraps his tail, monkey-like, around the I-Beams of an  
under-construction building.

The Gryphon SCREAMS--  
Godzilla hauls it nearer--  
\--and BITES into the leg--

The Gryphon CRIES OUT in pain, rears back--  
\--and fires a BOLT at Godzilla--

Godzilla is blown backwards, into the building skeleton, which  
topples--

The Gryphon presses its advantage, FIRES another bolt--

Godzilla staggers, moves off, back into the concrete canyons--

 

 

96.

 

The Gryphon soars past him, turns, then comes straight back,  
rakes him with extended talons--

Godzilla ROARS. The Gryphon SCREAMS--

 

EXT. GREENWICH VILLAGE - DAY

The SCREAM echoes. Jill glances up. The streets are nearly  
deserted. Scattered fires burn. Something SHATTERS behind her;  
she turns, sees nothing--quickens her pace, up the steps into  
the apartment building.

 

INT. APARTMENT BUILDING - HALLWAY - DAY

Jill moves along warily. Doors are broken in; property  
scattered through the hallway. The aftermath of smash-and-grab  
looting. An apartment door bursts open--  
Two young boys run past Jill, carrying stereo equipment.

Jill catches her breath, hurries to a door. It's closed tight.  
She tries the knob. Locked. Bangs on the door.

JILL  
Tina! Tina--

The door snaps open--and Jill's staring down the barrel of an  
automatic.

TINA  
I told you: go away--  
(she recognizes Jill)  
Mom!

She grabs Jill in an embrace. They speak at once.

JILL TINA  
Tina, you're all right, I can't believe you're  
Thank God... here--

Jill holds her back at arms length, examining her, relieved.  
Her eyes fall on the gun. She frowns.

TINA  
Aunt Julia's. It's safe.  
(puts on the safety)  
Safety's on.

She sticks it in her waistband. Jill considers saying something--  
then shrugs.

TINA  
I'm...glad you came.

They gaze at each other, sixteen years of history between them--  
and then they embrace again, holding on to each other.

 

 

97.

 

JILL  
Now, we've just got to find a way  
off this damn island...

TINA  
(laughs)  
...just like Gilligan...

Jill smiles--and the deep THWUP-THWUP of a HELICOPTER  
reverberates through the building. Jill looks up--

 

EXT. MANHATTAN - DAY

A helicopter swoops and banks, trying to keep up with the  
Gryphon. The Gryphon soars over the buildings, chasing  
Godzilla, who scurries along the streets, sometimes on all  
fours, a mouse chased by a hawk.

 

EXT. WORLD TRADE TOWERS - DAY

The Gryphon spots Godzilla, between the Twin Towers. Scowls,  
realizes: it is Godzilla's reflection in the north tower. The  
Gryphon banks around, swoops down, toward the image--

\--then turns, lashes out at the Godzilla near the south tower,  
smashing it--  
Except that's a reflection, too. During the Gryphon's bank  
turn, Godzilla moved to the other side. Godzilla springs at the  
Gryphon, teeth and claws tearing into its wings.

The Gryphon throws itself backwards, smashing Godzilla against  
the Tower. They flail violently, crushing and destroy the  
Tower's base.

 

EXT. GOVERNOR'S ISLAND - DAY

In the distance, dust rises from the World Trade Center. One of  
the towers leans over dangerously. The monitors show helicopter  
views of the battle. Benedek, Fleer and Pike are ashen.

BENEDEK  
Can even Godzilla beat that thing?

FLEER  
Don't be defeatist...

AARON  
(to himself)  
Why isn't he using his fire?

He stares at the monitors, trying to figure it out.

 

 

98.

 

EXT. MANHATTAN - SKY - DAY

The Gryphon pulls itself into the air. Godzilla makes a leaping  
snap for its legs--catches them, hauls the Gryphon down. 

The Gryphon reverses its momentum suddenly, sending both  
monsters hard into the dangerously leaning tower.

 

EXT. MANHATTAN - DAY

ON JILL AND TINA. They look up as--  
The TOWER COLLAPSES--

The ground shakes beneath their feet. Loose masonry crashes  
down around them--

 

EXT. GOVERNOR'S ISLAND - DAY

The observers are aghast--a dust cloud rises from the city, the  
skyline now absent one-half of the World Trade Center.

And then the Gryphon appears, flying shakily, still aloft.  
It fires another bolt--

BENEDEK  
It...survived that...

AARON  
The restraining device!

BENEDEK  
What?

AARON  
We've got to get it off him! It's  
keeping Godzilla from using his  
fire! Hell, it's probably--

He cuts off. An image on a monitor catches his eye.  
ON SCREEN: Godzilla, slumped against a building. Not moving.

BENEDEK  
My God...

AARON  
It's probably killing him.

PIKE  
That's a good thing, Vaught. We  
want these things dead, remember?  
And if one kills off the other,  
that's one less we have to kill.

AARON  
You don't get it, do you? We've  
got nothing to fear from Godzilla--

 

 

99.

 

PIKE  
You're insane! Look at what its  
caused--

Aaron turns away dismissively. Deals only with Benedek.

AARON  
Admiral, we've got to get that  
thing off him.

Benedek looks down at Godzilla's image on the monitor. Reaches  
a decision. Looks at Aaron.

BENEDEK  
How?

Pike starts to object--but Benedek cuts him off.

BENEDEK  
My command, Mr. Pike.  
(to Aaron)  
How?

AARON  
Um...

From behind him, Fleer speaks up.

FLEER  
C-4. Plastique explosive. 

AARON  
(to Benedek, without  
missing a beat)  
C-4. Plastique explosive.  
(to Fleer)  
How do we plant them?

FLEER  
We..?

He and Aaron lock eyes, regard each other.

FLEER  
You're serious about this?

Aaron does not need to answer. Fleer sighs.

FLEER  
No amount of money is worth  
this...  
(beat)  
We need a helicopter.

 

EXT. MANHATTAN - DAY

Jill and Tina at a pay phone. Jill drops the receiver.

 

 

100.

 

JILL  
All circuits busy...Dammit.

She spots an electronics store across the street. Strides  
toward it. Picks up a fallen chunk of masonry--

TINA  
Mom--what are you doing?

\--Jill hurls the chunk at the window, SHATTERS it.

TINA  
(shocked admiration)  
Mom...

Jill reaches in, grabs a cellular phone. A sign beside it reads  
'TRY OUR DEMO--make a free call.' She starts punching buttons.

JILL  
I think the owner'll be eligible  
federal disaster assistance...  
(into phone)  
Llewellyn, Jill. Security code:  
seven alpha. Day code: plant,  
echo, water. Voice print: 'Mary  
had a little lamb, its fleece--'  
(beat)  
Yes--get me Admiral Benedek--I  
don't care where he is, connect  
me!

 

EXT. GOVERNOR'S ISLAND - DAY

A phone chirps. Benedek picks it up.

BENEDEK  
Benedek.  
(beat)  
Where are you?

INTERCUT AS NEEDED

JILL  
Manhattan. My daughter and I. We  
need a lift out of here.

BENEDEK  
I can't do it. The only thing  
we're sending in now are gunships  
to provide cover for Vaught.

JILL  
What? Why? What's he doing?

 

 

101.

 

BENEDEK  
He's going to get the restraining  
device off Godzilla. He says its  
keeping Godzilla from beating the  
Gryphon. What do you think?

Jill considers...and comes to a conclusion.

JILL  
(simply)  
You should believe him. He knows  
what he's talking about.

BENEDEK  
You should get to cover--find a  
basement fallout shelter--

Jill has closed the phone, cutting him off.

JILL  
(thinking aloud)  
Aaron will make them land...  
(to Tina)  
C'mon.

She catches Tina's hand, leads her toward Godzilla.

TINA  
Mom--don't we want to go--  
(points in opposite  
direction)  
\--that way?

 

EXT. MANHATTAN - SKY - DAY

A transport helicopter cuts through the sky. Two Apache  
helicopters provide cover.

The Gryphon sees them coming. Wheels toward them. The gunships  
engage the Gryphon, peppering it with missiles.

The door of the transport 'copter slides back, revealing--

 

INT. HELICOPTER - DAY

Fleer and Aaron wear harnesses and radio headsets. Fleer is  
showing Aaron the ropes--literally.

FLEER  
You ever repel before?

AARON  
Yeah...some rock climbing in  
Yosemite.

 

 

102.

 

FLEER  
Well, this is nothing like that.  
Here, you're in freefall, and  
you've only got two options to  
stop you. Option one's this  
little brake here.

AARON  
And option two...?

But Aaron realizes what Fleer's going to say--

AARON/FLEER  
The ground.

A gunship EXPLODES, shot down by the Gryphon, the blast making  
them shield their eyes.

FLEER  
Jesus...

AARON  
We've got to end this.

The helicopter drops down between buildings, hiding the battle  
from view.

CHOPPER PILOT  
We're over him...Man, that's an  
ugly sucker.

Fleer and Aaron look out, down at Godzilla.  
Godzilla is slumped against a building, almost upright. It's  
two hundred feet from the restraining device to the ground.

FLEER  
(deadpan)  
Whatever you do, don't look down.

Aaron scowls at him. They clip their harnesses to lines. Drop  
the lines down, past the silver restraining device.

CHOPPER PILOT  
I'll hold her solid...but make it  
quick.

They nod, prepare to step off--

FLEER  
You know what's funny? This  
doesn't seem weird...

He and Aaron exchange a look. And then they go, out the door.

 

 

103.

 

EXT. MANHATTAN - DAY

JILL AND TINA round a corner. They help each other across a  
huge fissure in the street, careful of electrical conduits and  
broken gas mains. They look up in time to see:

Aaron and Fleer drop toward Godzilla, Fleer smoothly, Aaron less  
so.

TINA  
Jeez--are they nuts?

ON GODZILLA: as Fleer and Aaron slide past Godzilla's  
unconscious face. Fleer drops lightly onto the restraining  
device, canted at an extreme angle. Aaron nearly misses the  
device. Fleer reaches out, hauls him on.

FLEER  
How you doing?

AARON  
Invigorated....

Fleer smiles, begins unpacking bricks of C-4 explosive.

 

EXT. MANHATTAN - SKY - DAY

The second Apache narrowly avoids a bolt from the Gryphon, fires  
back. The Gryphon beats its wings furiously--

\--the helicopter is blown backwards into the EMPIRE STATE  
BUILDING. It explodes, damaging the top floors of the building.  
The helicopter falls to the street below.

The Gryphon wheels back toward Godzilla--  
Two more missiles explode on its back. It SCREAMS, turns back--

Pike's BLACK APACHE zooms past, peppering the Gryphon with  
gunfire.

 

INT. PIKE'S APACHE - DAY

The Gryphon sweeps past the copter, buffeting it. In front of  
them now, the Gryphon prepares to beat its wings like before--

PIKE  
Put the building between us!

 

EXT. MANHATTAN - SKY - DAY

Pike's Apache sweeps behind the Empire State Building. More  
windows are blown out by the Gryphon's onslaught. The Gryphon  
circles the building, after the Apache. The Apache keeps the  
building between them.

 

 

104.

 

INT. PIKE'S APACHE - DAY

PIKE  
Fire through the building.

GUNNER  
Sir..?

PIKE  
Fire through the building.

GUNNER  
Sir...that's the Empire State  
Building.

PIKE  
(beat)  
And..?

The Gunner has no response. He turns to his instruments.

 

EXT. MANHATTAN - SKY - DAY

Missiles fire from the Apache, RIP THROUGH the top floors of the  
Empire State Building, hit the Gryphon. More missiles, more  
hits. The Gryphon loses a little altitude. The top of the  
building shifts--

\--then TOPPLES, mooring tower and all, onto the Gryphon, the  
debris slamming into it, driving it down.

The Gryphon hits the street, the wreckage raining down on it,  
half-burying it. It lies still.

 

INT. PIKE'S APACHE - DAY

Pike smiles.

PIKE  
That's one. Let's make sure the  
other one doesn't get up, either.

GUNNER  
What about the people--

PIKE  
Acceptable losses. We'll build  
'em a monument. Go.

The pilot turns the chopper toward Godzilla--

 

 

105.

 

INT. HELICOPTER - DAY

The Pilot looks up--  
Sees the Gunship, making a beeline for him. He is puzzled by  
its attack posture.

The chain guns open fire.

PILOT  
Shit!

 

EXT. MANHATTAN - DAY

ON GODZILLA: Bullets rip across Godzilla, toward Fleer and Aaron  
on the restraining device. They dive for what cover they can  
find behind Godzilla's dorsals. 

ON JILL AND TINA: who see the attack.

TINA  
Aren't they on our side?

JILL  
Pike.

ON PIKE: in the helicopter.

PIKE  
(nonchalant)  
Missiles, please.

ON THE GRYPHON: The pile of debris at the base of the Empire  
State Building shifts...then the Gryphon emerges from it. It  
shakes itself off, sending up a cloud of masonry and dust.  
It looks up--  
And spots PIKE'S GUNSHIP.  
The Gryphon's eyes narrow, and it leaps into the air--

ON FLEER AND AARON: Fleer sees the missile launchers.

FLEER  
Uh-oh.

AARON  
Uh-oh what?

ON PIKE: Who smiles as the pilot puts a hand on the fire  
control. The targeting screen shows the restraining device dead-  
bang center--

THE GRYPHON HITS the chopper. Missiles fire. Hit the building  
beside Godzilla, shrapnel spraying the transport helicopter.  
The concessive force buffets it, pushes it toward the building  
opposite--

ON GODZILLA: Fleer and Aaron are dragged across the device--

 

 

106.

 

The helicopter rotor dips, catches Aaron's line--it SNAPS--

ON GODZILLA: Fleer is still being hauled off the restraining  
device--he grabs at his harness release--

\--the helicopter smashes into the building, falls--  
\--Fleer tumbles out of his harness as it is yanked away--  
\--but he's out in space, a long drop below--  
\--the helicopter CRASHES to into the street, explodes--  
\--Aaron grabs Fleer's arm--

Fleer slams into the side of the device--but he does not fall.  
Aaron, lying prone, holds him.

FLEER  
...thought I was going to use  
option two...

Aaron grunts, hauls Fleer back up.

ON PIKE'S APACHE: it spins out of control. The Gryphon's huge  
paw swipes across the cockpit--and the cockpit, pilot and gunner  
are gone. The Apache hits a roof, crashes off, into the street  
below.

Gryphon refocuses on Godzilla. Screams as it dives for him--

Fleer and Aaron whirl--

See the Gryphon dropping straight for them, claws extended for  
the kill--

\--It SLAMS into the tops of the surrounding buildings. The  
street is too narrow for its wingspan. It SCREAMS in  
frustration. Then spots:.

A WIDE INTERSECTION. The Gryphon lands. Tries to move down the  
street toward Godzilla. Again, its wingspan is too wide.

The Gryphon paces back and forth, snarls. Its eyes narrow--an  
idea occurs. It folds back its wings. Now it can fit between  
the buildings. It crosses the fissure, stalks toward Godzilla.

ON JILL AND TINA: who are between the Gryphon and Godzilla.  
Jill looks up at Aaron and Fleer, who are totally exposed.

JILL  
Uh-oh...

She looks around the street. Heads for an abandoned fuel  
tanker. It's locked. She SMASHES the window with a trash can.

TINA  
Mom...you're getting a real jones  
for vandalism.

JILL  
I take after my daughter...

 

 

107.

 

Jill climbs into the cab...roots around in the back. Finds some  
road flares. Then looks at the ignition. Checks behind the  
visor. No keys.

JILL  
Damn!

From outside comes an eager snarl.

ON AARON: who hears it, looks up--the Gryphon is uncomfortably  
close. Fleer looks up, too--then returns to setting a timer.

FLEER  
Ignore it. Just do the job.

Aaron resumes reeling in the line still attached to his harness--  
but keeps a wary eye peeled.

AARON  
(under his breath)  
...until you can't do the job.

ON JILL: who grabs Tina's arm, hauls her into the truck.

JILL  
You can hot wire it, right?

Tina's surprised--then nods. She scrambles beneath the  
dashboard. Strips out the wires quickly.

JILL  
Remember: green to red...

Tina glances up at her, smiles, makes an adjustment. The engine  
grinds, then starts.

JILL  
Can you drive it?

TINA  
I can find first gear...

JILL  
Good enough...get it rolling  
toward that thing, then jump  
clear.

Tina nods. Jill gives her a quick hug, a kiss, then climbs out  
of the cab, up on top of the truck.  
Tina puts it in gear--grinds 'em a little. Starts forward.

ON GODZILLA: Fleer pulls another timer out of the bag.

FLEER  
Shit!

AARON  
What?

 

 

108.

 

FLEER  
One of 'em's busted...crap.  
(he looks up at Aaron)  
I can only set it for thirty  
seconds.

Aaron looks at the street. The Gryphon is nearing, picking its  
way across broken chunks of pavement, crushing cars.

AARON  
Thirty seconds can be a  
lifetime...Do it.

Aaron ties his line off on the restraining device. Fleer hooks  
up the explosives.

ON JILL: as she scrambles back to the top hatch on the tanks,  
opens it. Lights the flares.

The truck is heading for the Gryphon. The Gryphon stops...  
cocks its head. What is this?

JILL  
(a mantra)  
Get out, Tina, get out, Tina, get  
out, Tina...

And then Tina jumps clear, rolls. She sits up, stares after--

\--the Tanker. Jill perched on top, flares blazing. Heading  
straight for the Gryphon, picking up speed--

TINA  
Get out, mom, get out, mom, get  
out, mom...

Jill waits--waits a little longer--then drops the flares into  
the tanks and JUMPS--

She lands in a pile of full garbage bags. Tina runs to her--

\--the truck roars toward the Gryphon. And then--

The Gryphon sidesteps. The truck passes between its legs. It  
looks down, under itself, following the truck's passage.

TINA  
Shit! It missed!

The truck crashes into the fissure behind the Gryphon. The  
Gryphon looks up--locks its stare on Jill and Tina.

TINA  
Oh, shit...

The Gryphon paces forward--  
\--Jill grabs Tina, dodges the swipe of a huge paw, pulls her  
into an abandoned storefront.

 

 

109.

 

The Gryphon's head looms huge in the shattered front window. It  
reaches a paw in toward Jill and Tina, claws nearly reaching  
them, backed into a narrow recess--

Suddenly, behind the Gryphon, the TRUCK EXPLODES--

\--and IGNITES the GAS MAIN. Another EXPLOSION. The pavement  
roils like a WAVE. A MOVING WALL OF FLAME EXPLODES from the  
street, catching the Gryphon as it springs. 

Jill and Tina run for safety as the ground shakes, dodging  
falling debris.

TINA  
Goddammit, mom, you could've let  
me in on your plan!

JILL  
Stop cursing.

ON GODZILLA: Fleer and Aaron grab for handholds.

FLEER  
What the hell--?

In the street, the Gryphon is trapped in a wall of flames,  
panicked, screaming, trying desperately to spread its wings. 

It finally twists free, demolishing buildings on either side of  
the street, its final SCREAM so ear-piercingly loud that windows  
shatter.

The Gryphon, still afire, climbs into the sky, a falling star in  
reverse.

AARON  
That's going to make our  
explosions look puny...

FLEER  
It's not the size...it's how you  
use it.

He sets the final charge in place. Looks up at Aaron.

Aaron nods, rope in his hands, poised to leap off the device.

Fleer pushes the buttons on both charges, then swings out onto  
Aaron's back. They step off into space, repelling down to a  
terrace one hundred feet below.

The timer counts down: 21, 20, 19...

JILL AND TINA watch as the two figures drop down the rope.

The timer hits 13, 12, 11...

 

 

110.

 

Aaron's harness hits frayed line, tangles, freezes. Twenty feet  
to go. He can't free the line.

FLEER  
What's wrong?!

AARON  
Frozen--I can't get it--

FLEER  
Hit the release!

The timer ticks off 7, 6, 5...

Aaron yanks the release--he and Fleer drop from the rope--

THE CHARGES EXPLODE--

Aaron and Fleer hit the terrace hard--

THE RESTRAINING DEVICE BLOWS FREE--

Line begins pooling beside Aaron--his eyes widen. Looks up--

The restraining device tank FALLS DIRECTLY TOWARDS THEM--

They scramble for safety--Fleer grabs Aaron's collar, hauls him  
out of the way just as the device CRASHES to the terrace.

They lie there, breathing hard--

And then the building shakes. And there is a ROAR.

Godzilla is awake. He uses the building to haul himself up.

Aaron and Fleer get the hell out of there. They race down  
stairs as the building collapses around them.

ON JILL AND TINA: as they run for the building. 

TINA  
Did they get out?

Godzilla towers above them. He ROARS again. And above him, the  
Gryphon SCREAMS. Godzilla looks up.

The Gryphon dives toward earth. Patches of its skin are  
blackened, still smoking. It fires a BOLT at Godzilla--

\--who staggers, but does not fall. And then--

\--Godzilla BREATHES FIRE, hits the Gryphon head on--

The Gryphon screams again, this time in pain, and veers off,  
toward the East River.

Godzilla ROARS again, and pounds away, giving chase.

 

 

111.

 

TINA  
There they are!

Aaron and Fleer emerge from the demolished building, supporting  
each other, exhausted.

But the tremors of Godzilla's exit dislodge a large, already  
precarious sign; its bulk swings down toward the two men--

They dive flat. The sign barely misses them, crashes to the  
ground. They lie there, unmoving. Jill and Tina reach them.

JILL  
Aaron--are you all right? Aaron?

TINA  
(to Fleer)  
Are you okay, mister?

AARON  
(eyes closed)  
Jill, Tina, Nelson Fleer. Nelson,  
Jill and Tina.

Jill laughs out loud in relief. From the river comes a ROAR--

 

EXT. MANHATTAN - STREET - DAY

Pike comes to, battered, bleeding, lying inside the wrecked tail  
section of his Apache. He unstraps himself. A weapons locker  
has sprung open; he grabs an M16. Using the rifle as a crutch,  
he climbs out.

 

EXT. MANHATTAN - SKY - DAY

The Gryphon gazes down. Below, Godzilla moves between  
buildings, slips into the East River. The Gryphon DIVES--

 

EXT. MANHATTAN - STREET - DAY

Aaron, Jill, Fleer and Tina run. The street is plunged into  
DARKNESS by the shadow of the Gryphon, then back to light once  
it passes. Jill pulls up short--

Pike is standing right there, holding the machine gun. Beyond  
him is the gaping entrance to the Brooklyn Battery Tunnel.

JILL  
Pike--you bastard--

PIKE  
(levels the rifle)  
Please, Doctor. Calm down.

From the river comes a scream, a roar, the sounds of battle--

 

 

112.

 

\--and them the Gryphon SMASHES down on its back intolerably  
close to the group, the IMPACT knocking them off their feet.  
The Gryphon twists to its feet--

Pike, frightened, sprays it with MACHINE GUN FIRE, peppering the  
Gryphon. It reacts to the gnat-like irritation, spots Pike and  
the others--

TINA  
The tunnel!

The Gryphon lashes out at them. They scramble for the tunnel-- 

 

INT. TUNNEL - DAY

The group runs into the tunnel, the Gryphon after them, a cat  
after mice. It tries to reach in after them, but its arm is too  
large. Pike, bringing up the rear, empties the M16 at it. The  
Gryphon SNARLS. Opens its mouth--

Its TONGUE OF SNAKES lashes out, two of them catching Pike  
around the waist and leg. 

PIKE  
Help me!

Aaron catches for his arm, but Pike is yanked away. He is  
dragged out of the tunnel, into the Gryphon's mouth. The  
Gryphon bites down--

Jill, Aaron, Tina and Fleer are shocked. Fleer spots a large  
tunnel utility truck. Gestures, leads them to it.

 

EXT. MANHATTAN - STREET - DAY

The Gryphon throws back its head, SWALLOWING PIKE. The Gryphon  
shuts its eyes--twitches involuntarily. From the distance comes  
Godzilla's ROAR.

The Gryphon looks up at it. Glances around the area. Its eyes  
fall on:

THE RESTRAINING DEVICE TANK, lying in the street. Amniotic  
fluid leaks slowly from several cracks.

The Gryphon scowls, narrows its eyes, as though trying to  
remember something--  
It does. It seems to smile. And then--  
\--THE GRYPHON ROLLS ITS HEAD, CRACKING ITS NECK--Pike's tic  
exactly.

The Gryphon pounces on the tank. It glances toward the East  
River. Clutching the tank in its front paws, the Gryphon takes  
to the skies--

 

 

113.

 

INT. TUNNEL - DAY

The utility truck races through the tunnel, ramming through  
abandoned cars. Fleer, at the wheel, hits the brakes. The  
truck slues to a stop. The entire width of the tunnel is  
blocked by a semi and trailer, halfway through an aborted U-  
turn.

JILL  
I guess we walk.

They climb out, hurry past the semi. On the wall is a sign:  
'Brooklyn Battery Tunnel - MIDPOINT.'

 

EXT. EAST RIVER - DAY

Over the bay, the Gryphon spots Godzilla. Heads for him,  
skimming above the water.  
Godzilla sees the Gryphon coming. Cocks his head to one side.  
The Gryphon holds the tank in its paws, closing on Godzilla.

Godzilla steps back, wary, almost looking for a place to retreat  
to. The Brooklyn Bridge is behind him. He glances back at the  
Gryphon--

The Gryphon squeezes the tank in anticipation. Metal howls with  
strain. Amniotic fluid seeps out of the tank--

Godzilla sinks down into the water, seemingly afraid. Just his  
head visible above the water line--

Suddenly Godzilla BREATHES FIRE--not at the Gryphon, but ACROSS  
THE WATER, creating a curtain of steam. An instant fog bank.

The Gryphon is blinded but can't pull up--  
Godzilla dives--  
The Gryphon screams, banks, suddenly flying blind--

And then THE BROOKLYN BRIDGE looms up out of the fog. The  
Gryphon HITS THE BRIDGE FULL SPEED. Tangles in the cabling.  
Drops the tank--

Godzilla erupts from the water, smashes into the Gryphon--  
The Gryphon tears one arm free from the cables. Reaches for  
the tank--

With an almost casual flip of his tail, Godzilla sends the tank  
flying out of the river, into Manhattan. The Gryphon SCREAMS in  
frustration.

The Gryphon twists, and Godzilla becomes tangled with some  
cables. The Gryphon snaps its wings open--a bio-electric bolt  
scrabbles across them--

The cables are electrified. Godzilla is ELECTROCUTED. The  
Gryphon tears free, slams into the reeling Godzilla. Godzilla  
stumbles backward--

 

 

114.

 

INT. TUNNEL - DAY

The tunnel SHAKES. Roof tiles come loose, clatter down.  
Aaron, Jill, Fleer and Tina freeze. Look up.

FLEER  
Uh-oh.

Another BOOM and cracks appear. Water begins to seep through.

AARON  
I guess we run!

They start running.

 

EXT. EAST RIVER - DAY

Godzilla has a deathlock on the Gryphon. The Gryphon flaps  
furiously, straining with all its might. Both monsters are  
lifted out of the water--

Godzilla twists around and BITES the Gryphon's WING, tears a  
chunk out of it--  
The monsters crash back into the water--

 

INT. TUNNEL - DAY

Jill, Aaron, Fleer and Tina look back, over their shoulders--

In the distance, about a half-mile away, the roof of the tunnel  
CAVES IN--  
Godzilla's foot appears, crushing down from the ceiling--  
Hundreds of thousands of gallons of water pour in past Godzilla's  
leg, gushing down from above. Tons of water, filling the  
tunnel, sweeping toward the foursome--

Jill spots an abandoned car--a red Subaru. Its door open.

JILL  
In there!

The ROAR of the approaching water is DEAFENING. They have only  
seconds. They scramble for the car--

POV - THE WALL OF WATER, as it rushes toward them and the car,  
picking up speed--

 

INT. SUBARU - DAY

Aaron behind the wheel, Jill beside him, Fleer and Tina in the  
back. They slam the doors shut--

AARON  
Seat-belts!

 

 

115.

 

They pull the shoulder belts across. Fleer frantically searches  
for his latch--its buried in the seat. He digs it out. The  
belt tongue goes in with a soft 'click'--

Just as the wall of water SLAMS INTO THE CAR--

 

INT. TUNNEL - DAY

The Subaru is tossed like toy.  
It rolls. Twists. Is swept along, caroms off a police car--

All are shoved along by the immense force of the water. It  
washes over the cars, covering them, filling the tunnel--

 

INT. SUBARU - DAY

The foursome are thrown violently, the seat-belts barely holding  
them in place. The vehicle is completely submerged. Some water  
seeps in, but the passenger compartment for the most part holds--

Tina screams as a MAN'S FACE is driven hard against the side  
window, then washed away.

FLEER  
Uh-oh.

The BUMPER of a bottled-water TRUCK is visible, growing larger  
in the windshield. They're hurtling toward it--

 

INT. TUNNEL - UNDERWATER - DAY

The angle of the two vehicles causes the Subaru to be shunted to  
one side, smashing in tight between the truck and the wall of  
the tunnel. A violent, sudden STOP as the hood CRUMPLES.

 

INT. SUBARU - DAY

The foursome breath hard as they recover. Aaron straightens  
behind the wheel--and grimaces in pain, unnoticed by the others. 

There comes the loud CREAK of metal under stress. A small rear  
window CRACKS with gunshot suddenness. Water seeps through the  
cracks.

FLEER  
We've got to equalize the pressure  
or it's going to crush us.  
Everyone-- crack your window a  
little bit.

They do so. Water pours in.

 

 

116.

 

FLEER  
Now we can open the doors to get  
out--

AARON  
One problem.

Jill looks over at him. Gasps. The steering wheel and  
dashboard have been torqued, pinning him. She leans across,  
tries to wrench the wheel up.

JILL  
Dammit! Can you wiggle out?

AARON  
No...not yet.

The water in the car is waist level now--and rising. Fleer  
leans across the seat. Together, he and Jill try to pull the  
wheel up. Nothing. 

TINA  
Can you get the seat lever?

Aaron reaches down, finds it--pulls it. A loud CLUNK. Fleer  
tries to pull the seat back. No go.

FLEER  
(straining)  
It feels like its just about to  
give--

Water is at their shoulders now.

AARON  
Get out of here. All of you.

JILL  
Don't be stupid.

AARON  
You, either. Get out.

He tilts his head back to breath. A final deep breath, and he  
is submerged. The car is filled.

UNDERWATER, Aaron indicates: 'get out.' Jill and Fleer, holding  
their breath, keep trying to free him. He pushes them away.  
Tina looks on, frightened. She reaches for the door latch,  
pushes the door open--

It hits the tunnel wall--and stops. She goes wide-eyed. Pushes  
it a couple times. No go.

Jill and Fleer exchange a glance. They try their doors. They  
are wedged shut by the bottled-water truck. 

 

 

117.

 

Tina rolls her window all the way down--but the tunnel wall  
prevents her from wriggling out. The truck presents the same  
obstacle on the other side. 

Jill, Fleer and Aaron exchange a dismayed glance.

 

EXT. EAST RIVER - DAY

Godzilla holds the Gryphon beneath the water. The Gryphon bucks  
furiously. Levers its rear legs into Godzilla's belly, and  
pushes, claws ripping flesh, shoving Godzilla back.

The Gryphon surfaces, gasping for breath. It SLASHES its wing  
tips across Godzilla's eyes, and takes off. Godzilla hits it  
with a BLAST OF FIRE as it moves away--

 

INT. SUBARU - UNDERWATER - DAY

Aaron gets an idea. He reaches down and pulls the rear hatch  
release. It pops open. The last air in the car evacuates in a  
large bubble. He indicates: 'GO!'

Fleer shoves Tina out. Hesitates. Aaron gestures angrily.  
Fleer goes. Sadly, Jill takes Aaron's hand. A moment between  
them. Jill looks away--

Through the windshield is the water bottle truck. There are  
capped, filled bottles. Bubbles pour out of uncapped, empty  
bottles, still in their racks. But several racks are empty.

Jill pushes away from Aaron, out of the car.

 

INT. TUNNEL - UNDERWATER - DAY

Fleer and Tina swim above the Subaru. The tunnel is illumined  
by a weird combination of emergency lamps and headlights  
stabbing through the water. Jill swims up to them, looking up  
past them--

The ceiling is dark, unknowable.  
A leap of faith, then. She gestures 'follow me' to Fleer and  
Tina, and swims upward--

 

INT. SUBARU - UNDERWATER - DAY

Aaron is not moving, conserving his breath. Only his eyes belay  
his panic. They dart from side to side. Tears well up. He  
clenches his jaw. His eyes roll back as his air runs out. His  
mouth opens, a few last bubbles escaping--

Suddenly, Jill is there, swimming up to him--  
\--and KISSING HIM. Air bubbles rise up from their lips. Aaron  
is shocked--realizes she has transferred air to him.

 

 

118.

 

Fleer is behind him then. Jill braces her feet on the dashboard  
and pulls up at the wheel while Fleer strains against the seat.  
Aaron twists--

\--and comes free. The three swim out of the car.

 

INT. TUNNEL - UNDERWATER - DAY

Aaron follows Jill and Fleer toward the ceiling of the tunnel.  
Tina waits for them, buoyed up against the tiles by the three  
large water bottles she is holding onto. They are capped, and  
empty--except, of course, for air. At the base of one they've  
made a pinhole, which Tina covers with her thumb.

Aaron grins. Brilliant. Jill takes the pinholed bottle from  
Tina--air bubbles stream up as they transfer it.

Jill puts her mouth to the pinhole, takes a breath in  
demonstration. Holds the bottle out to Aaron. Their faces  
close together, he draws a deep breath, holding her gaze. An  
intense moment between them. 

Tina, watching them, frowns, puzzled. What's going on there?

Then Jill smiles at him. Tilts her head toward the exit. Aaron  
smiles back, nods.

 

INT. TUNNEL - UNDERWATER - DAY

Each with a water bottle, the foursome half-swim, half-walk  
upside down on the ceiling, making their way toward the light at  
the tunnel mouth.

 

EXT. EAST RIVER - DAY

Blood from Godzilla's wounds stains the water. Godzilla ignores  
it. He stands, not moving, staring into the sky, scanning it--  
much as he did in the Taki Islands. Then he stiffens--he's  
spotted something, a small dot in the distance.

 

EXT. MANHATTAN - SKY - DAY

The Gryphon, too, is wounded. Literally licking its wounds. It  
flies slowly, circling Manhattan far below. It circles faster,  
becoming more agitated--

It SCREAMS--and sweeps its wings back. It begins a power dive,  
straight toward Godzilla. 

 

EXT. EAST RIVER - DAY

Godzilla makes a slight sound at the back of his throat--he  
knows the Gryphon is coming. But he doesn't move. He waits.

 

 

119.

 

The Gryphon hurtles toward earth, claws bared, its speed peeling  
its lips back in a viscous snarl--

Godzilla waits--

The Gryphon is nearly on Godzilla, screaming toward him--

GODZILLA LEAPS FORWARD SUDDENLY, EXPOSING THE THREE ROWS OF  
JAGGED DORSAL FINS ALONG HIS BACK--

The Gryphon is RIPPED OPEN, from stem to stern. Both monsters  
crash down into the river. A huge impact wave races in both  
directions down the East River, flooding streets on either shore--

 

EXT. TUNNEL MOUTH - DAY

Aaron emerges from the watery depths of the tunnel, into  
sunlight, Jill, Tina and Fleer right behind him. A number of  
military vehicles, helicopters and personnel in the area.

The foursome suck in air and hug in celebration--but then Aaron  
freezes. The others turn to see what he's staring at:

 

EXT. EAST RIVER - DAY

Godzilla shakily finds his footing. He tackles the Gryphon, who  
struggles wildly, a wounded and vicious animal. It tries to get  
airborne. Godzilla grabs the Gryphon's tail, hauls it down.

Godzilla levers his fingers into the Gryphon's rib cage and  
PULLS ITS BODY APART with a vicious CRACK--

Godzilla slams the Gryphon back into the river.  
He strikes like a snake, teeth glinting, jaws slamming shut  
beneath the water--

GODZILLA TEARS THE HEAD OFF THE GRYPHON, holds it up.  
Stares at it. Its eyes are closed. Its not moving--  
And then the EYES SNAP OPEN--

\--and the body ERUPTS from the water, clawing blindly at  
Godzilla even as it tries to repair itself. Godzilla BREATHES  
A STREAM OF FIRE into the body--

Like being microwaved, the body ignites from the inside-out--  
\--and EXPLODES.

Hanging from Godzilla's hand, the head snarls and bites.  
Godzilla gives it an almost-exasperated look--

\--and SPIKES the head on jagged remains of one of the towers of  
Brooklyn Bridge.

The head stops snapping. Weird blue eyes stare starkly.  
Godzilla leans close to it. Stares back.

 

 

120.

 

It is dead. Godzilla ROARS.

Injured, bleeding from dozens of wounds, but triumphant,  
Godzilla begins pushing through the water, back to open sea.

 

EXT. TUNNEL MOUTH - DAY

Aaron realizes he's been holding his breath. Exhales in relief. 

TINA  
Is...is it over?

JILL  
I think so. I hope so.

Fleer stares out at the battleground. The river red with blood  
and ichor. The head staked atop the bridge.

FLEER  
I don't care how much you pay  
me...I am not gonna help clean  
this up.

Suddenly, from the sky comes a SCREAM--

 

EXT. SKY - DAY

It is the SCREAM of fighter jets, streaking toward them.

 

EXT. TUNNEL MOUTH - DAY

FLEER  
That's an attack formation...

The jets FIRE. Missiles streak toward Godzilla--  
IMPACT. Godzilla ROARS in pain.  
The jets streak past, banking to come around for another pass.

FLEER  
(yelling at the fighter)  
Hey! Knock it off!

AARON  
Jill--they can't--

JILL  
I know.

She looks around--and spots:  
A familiar Huey Helicopter.

JILL  
You!

The Huey Pilot turns--and is startled to see her.

 

 

121.

 

HUEY PILOT  
Christ, I thought I was rid of  
you.

JILL  
We need your helicopter.

HUEY PILOT  
(laughs)  
Forget it. I told you--I don't  
have clearance--

JILL  
I'm giving you the clearance--

HUEY PILOT  
Screw you. Bring me up on  
charges, I don't care. No way I'm  
leaving the ground.

There is the sound of a gun cocking--  
Behind Jill, Tina has leveled her pistol at the pilot.

TINA  
You really ought to listen to my  
mom.

The Huey Pilot stares agog. Smiling, Fleer slips the pilot's  
sidearm from its holster.

 

EXT. GOVERNOR'S ISLAND - DAY

BENEDEK  
Tell Red Wing One to target its  
wounds specifically--and not let  
up! I want saturation fire!

 

INT. FIGHTER COCKPIT - DAY

The FIGHTER PILOT has Godzilla in his sites. Godzilla looks up,  
wounded and tired, showing a lot of the white of his eyes. He's  
prepared to die.

FIGHTER PILOT  
Roger that, Ground. Commencing  
strafing run--What the--

THE HUEY COPTER has risen up suddenly, between the fighters and  
Godzilla.

 

EXT. SKY - DAY

The fighters veer aside, jetwash buffeting the rescue copter.

 

 

122.

 

EXT. GOVERNOR'S ISLAND - DAY

Benedek has seen the action through binoculars.

BENEDEK  
(into mic)  
Red Wing One, make another  
approach. Unidentified Copter,  
get the hell out of there! Do you  
copy?

JILL (O.S.)  
(filtered)  
We're not going anywhere, Benedek.

Benedek stares at the speaker.

BENEDEK  
Dr. Llewellyn?

 

INT. HUEY - DAY

The Huey Pilot at the controls, nervously aware of Tina holding  
the gun. Tina, not really paying attention, lets the barrel of  
her gun droop. Fleer lifts it back on line with a finger.

Jill is on the radio, Aaron beside her.

JILL  
Benedek--call off the fighters!

INTERCUT WITH BENEDEK

BENEDEK  
Don't be insane, Jill! Godzilla  
is weak, wounded--

JILL  
We can't kill Godzilla.

BENEDEK  
I say we can. Red Wing, target  
the creature. If the helicopter  
doesn't move, splash it!

JILL  
Benedek, think! We couldn't have  
stopped the Gryphon without  
Godzilla. We know it came from  
space--how many more are there?

Benedek starts to say something--pauses. 

 

 

123.

 

INT. FIGHTER - DAY

The jet's computer targeting system locks on to the Huey,  
Godzilla beyond it.

FIGHTER PILOT  
(into radio)  
We have a lock on the target.

 

EXT. GOVERNOR'S ISLAND - DAY

Benedek is torn.

JILL  
(filtered)  
(repeats it)  
How many more?

It's a tough call for Benedek--but he reaches for the mic.

BENEDEK  
Red Wing One--break off attack.

 

EXT. MANHATTAN - DAY

The jets sweep past the copter, then past Godzilla. Godzilla  
watches them go by, then turns for the sea--

And COLLAPSES, suddenly just deadweight. He slowly sinks out of  
sight, unmoving. The water is stained pinkish by his blood.

 

INT. HUEY - DAY

TINA  
Is it...is he dead?

AARON  
I...don't know.

FLEER  
Goddammit. We were too late.

Jill stares sadly down at the ocean. She lowers her head.

JILL  
(a whisper)  
...no.  
(looks at Aaron)  
I guess I'm out of a job.

AARON  
You and me both...

TINA  
He's still out there, mom.

 

 

124.

 

JILL  
(wanting to believe it)  
Yes...he's still out there.

A pause.

AARON  
So what do we do?

Jill's response is simple: she puts an arm around Tina, draws  
her close. A moment...then she puts out a hand to Aaron...who  
takes it.

Together, they look out at the calm water.  
And then Fleer spots something:

FLEER  
(admiration)  
I knew he was a tough bastard.  
(points)  
Look!

IN THE OCEAN: disturbing the surface is a V-shaped wake, caused  
by Godzilla's passage beneath the water. The wake becomes  
longer as he picks up speed and heads out toward open sea.

CAMERA DROPS TO BELOW THE WATER into the murky depths. Silence,  
Godzilla isn't there...but then we hear the characteristic  
BOOMING of Godzilla's heart.

And as the screen FADES TO BLACK, we hear one last thing:  
GODZILLA'S DISTINCTIVE ROAR.

THE END

 

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